**-nr7: Warwick shakespeare TWELFTH NIGHT OR, WHAT YOU WILL EDITED BY ARTHUR D. INNES, m.a. SOMETIME SCHOLAR OF ORIEL COLLEGE, OXFORD EDITOR OF "JULIUS OESAR " \n\ 4ftfilelel 5*. ' LONDON BLACKIE & SON, Limited, 50 OLD BAILEY, E.C. GLASGOW AND DUBLIN 1895 ' THE WARWICK SHAKESPEARE. RICHARD THE SECOND. (Eighteenpence.) Edited by C. H. HERFORD, Litt.D., Trinity College, Cambridge: Pro- fessor of English at University College, Aberystwyth. MACBETH. (One Shilling.) Edited by Edmund K. Chambers, B.A., formerly scholar of Corpus Christi College, Oxford; Chancellors English Essayist, 1891. JULIUS CESAR. (One Shilling.) Edited by ARTHUR D. INNES, M.A., formerly scholar of Oriel College, Oxford. HAMLET. (Eighteenpence.) Edited by EDMUND K. CHAMBERS, B.A., formerly scholar of Corpus Christi College, Oxford. AS VOL" LIKE IT. (Eighteenpence.) Edited by J. C. SMITH, M. A.(Edin.), B.A.(Oxon.), formerly exhibitioner of Trinity College, Oxford; Lecturer in Owens College, Victoria University. TWELFTH NIGHT (Eighteenpence.) jOjO Edited by A. D. INNES, M.A., Editor of Julius Casar. J?3B7\ faL In Preparation. A MIDSUMMER NIGHT'S DREAM. Edited by E. K. CHAMBERS, B.A. RICHARD THE THIRD. Edited by GEORGE Macdonald, M.A., Balliol College, Oxford; for- merly classical examiner in the University of Edinburgh. CYMBELINE. Edited by A. J. WVATT, M.A., Cantab, et Lond. THE MERCHANT OF VENICE. Edited by H. L. Withers, B.A., Principal of the Borough Road Training College; formerly scholar of Balliol College, Oxford. THE TEMPEST. Edited by F. S. BOAS, M.A., formerly exhibitioner of Balliol College. Oxford; lecturer Oxford Society for the Extension of University Teaching. GENERAL PREFACE. In the Warwick Shakespeare an attempt is made to present the greater plays of the dramatist in their literary aspect, and not merely as material for the study of philology or grammar. Criticism purely verbal and textual has only been included to such an extent as may serve to help the student in his appreciation of the essential poetry. Questions of date and literary history have been fully dealt with in the Introductions, but the larger space has been devoted to the interpretative rather than the matter-of-fact order of scholar- ship. Aesthetic judgments are never final, but the Editors have attempted to suggest points of view from which the analysis of dramatic motive and dramatic character may be profitably undertaken. In the Notes likewise, while it is hoped that all unfamiliar expressions and allusions have been adequately explained, yet it has been thought even more important to consider the dramatic value of each scene, and the part which it plays in relation to the whole. These general principles are common to the whole series; in detail each Editor is alone responsible for the plays intrusted to him. Every volume of the series has been provided with a Glossary, an Essay upon Metre, and an Index; and Appen- dices have been added upon points of special interest, which could not conveniently be treated in the Introduction or the Notes. The text is based by the several Editors on that of the Globe edition: the only omissions made are those that are unavoidable in an edition likely to be used by young students. By the systematic arrangement of the introductory matter, and by close attention to typographical details, every effort has been made to provide an edition that will prove con- venient in use. Digitized by the Internet Archive in 2011 with funding from University of Toronto http://www.archive.org/details/twelfthnightorOOshak CONTEXTS. Page General Preface to Series, iii Introduction, 7 Dramatis Personae, 26 Twelfth Night, 27 Notes, S7 Appendix A.— Shakespeare and Puritanism, - 132 Appendix B.— Outline of Shakespeare's Prosody, 155 Glossary, 139 Index of Words, 149 General Index, 152 7 INTRODUCTION. i. LITERARY HISTORY OF THE PLAY. The earliest known edition of Twelfth Night is that of the First Folio, 1623, in which the plays of Shakespeare were for the first time collected. Many of them had been previously published in Quarto editions which are still extant; but there is no Quarto of Twelfth Night. We have no knowledge of the text on which this edition was based ; but there are very few passages which bear distinct marks of being corrupt, and not many in which emendations occur preferable to the existing text. The means of settling the date at which a play was actually written are to be found (1) in the external evidence, i.e. references to it in contemporary writers ; (2) in Evidences of the internal evidence : (a) phrases in the play Date- which point to contemporary events or writings, and (/3) characteristics of construction,. versification, or thought which mark a particular stage in the author's development. $g/J^ j'/3 (1.) The Palladis Tamia of Meres, published in Feb. 1602, • Jo contains a list of Shakespeare's works up to that time. In this list Twelfth Night is not included, so that External: it was almost certainly unknown to Meres. We Meres. may therefore be sure that it had not been acted before the close of 1601. The diary of John Manningham, a barrister, which covers the period from Jan. 1602 x to April 1603, relates that he saw the play of " Twelue Night or What " anmng a You Will" performed on Feb. 2, 1602. The extract runs as follows : — " At our feast wee had a play called Twelue night or what 1 According to the modern method of reckoning the year as beginning on Jan. 1 st. At that time, January, February, and March were reckoned as the last three months of the year, so that what I call Jan. 1602 was then called Jan. 1601. Such a date is very commonly expressed as ' Jan. 1601-2'. 8 TWELFTH NIGHT. you will, much like the commedy of errores or Menechmi in Plautus, but most like and neere to that in Italian called Inganni a good practise in it to make the steward beleeue his Lady widdowe was in Loue with him by counterfayting a letter, as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling his apparaile, &c. And then when he came to practise mak- ing him beleeue they tooke him to be mad." There can be no possible doubt that Shakespeare's play is here referred to, the only discrepancy being that Olivia is called a 'widdowe*, whereas it was her brother for whom she was in mourning. This extract, therefore, taken in conjunc- tion with the omission of Twelfth Night from Meres's list, practically proves that the play had been written by the beginning of 1602, but had not been acted at the end of 1601. It is of course possible that the omission from Meres's list was accidental, but Manningham certainly writes of it as a new play. Steevens, who was an adept at discovering attacks on Shakespeare in Ben Jonson, detects a sneer at this play in a passage from Every Man out of his Humour, Ben Jonson. which wag acted [n 1599; so that if his surmise be accepted, the date of Twelfth Night would have to be moved back. But apart from the other reasons for looking on Jonson's play as the earlier, the passage in question could scarcely be regarded by an impartial judge as referring to Twelfth Night ; the misrepresentation would be too gross. The words are in act iii. sc. 2 ; " the argument of his comedy might have been of some other nature, as of a duke to be in love with a countess, and that countess to be in love with the duke's son, and the son to love the lady's waiting-maid; some such cross wooing". We need not hesitate to dismiss this piece of ' evidence'. 2. (a Any lingering doubt is practically dispelled by the " Farewell, dear heart, since I must needs be gone '" in ii. 3, a song which first appeared in the Book of Aj-res, *,. j^qj. ^0^^ tne catch where it occurs might possibly have been interpolated in the play. INTRODUCTION. 9 Two other passages may be referred to in this connection, but only to be dismissed as affording little if any real evidence, (i) " The new map with the augmentation to the Indies" (iii. 2) was supposed by Steevens to refer to the map for ' Linschoten's Voyages', of which the English edition appeared in 1598. Mr. Coote, however, has shown that the map referred to was one of which copies are extant bound up in the first edition of Hakluyfs Voyages, but which records discoveries not known earlier than 1596. (ii) .Mistress Mall's picture (i. 3), if it refers to ' Mall Cutpurse', must have been inserted in the play a good deal later than 1602; but the reference might easily have been interpolated as a 'topical' allusion after the play was written; it is quite uncertain whether 'Mall Cutpurse' is alluded to; and this certainly could not be regarded as valid evidence against Manningham's diary. So far, then, the evidence proves conclusively that the play was acted as early as Feb. 1602, and affords very strong pre- sumption that it was not written earlier than 1601. 2. (fi) The rest of the internal evidence confirms these conclusions. The technical characteristics of the early plays are wanting. The verse structure and the use of prose alike belong to the middle period of Shakespeare's work (see Appendix B) ; the matured skill of the practised playwright is everywhere evident, while the light-heartedness and buoyancy of the spirit in which it is written are quite different from that grave cheerfulness which marks even the liveliest of the later plays. So that the final conclusion is, Twelfth Night was cer- tainly not written later than the end of 1601, nor earlier than 1597, and almost certainly not earlier than the end of 1601. 2. SOURCES OF THE PLAY. It was the habit of all the play- writers of Shakespeare's time to adopt freely the work of their predecessors in con- structing their own plays. They rewrote plays Habit of which had been already acted or published; adaptation, they appropriated the plots and characters of other authors, io TWELFTH NIGHT. English or foreign; in short, they used any material which came to hand without any regard for any notion of ' literary property'. Thus many of Shakespeare's plays are earlier plays re- written, and we can usually find somewhere or other a play, a novel, or a chronicle from which he derived the leading situations of his plays. Sometimes he followed his original closely, merely making an occasional improvement. Some- times he borrowed his main plot and constructed an under- plot of his own which entirely changed the general effect. Sometimes he extracted, so to speak, the skeleton out of a story that had never really been alive, and clothed it with flesh and blood, and breathed new life into it till it became living, beautiful, human. Always, whatever the extent of his borrowings might have been, the play when it left his hands was something new, different, instinct with a genius that none but Shakespeare could have imparted to it. There was never a writer whose materials were more deliberately stolen, nor one whose creations were more original, more individual, more unmistakably stamped as the handiwork of the supreme master. The central ideas of the play of Twelfth Night were by no means new. The girl masquerading as a man was a common device : Shakespeare himself had already used it pic?werehe at least tnree times; in The Two Gentlemen of common Verona, in The Merchant of Venice, and in As You Like It. The confusion arising from per- sonal likenesses he had borrowed before in The Comedy of Errors. The leading features of his main plot had been already presented in the Novelle of Bandello, in the Italian play Gl'Ingannati, in Barnabie Riche's story of Apolonius and Silla, and in various other modified forms by numerous writers. But the combination of the main plot with the underplot is Shakespeare's own, it was he who imparted the individuality to every one of his characters, and Twelfth Night is as distinctively, as fundamentally, Shakespeare, as if every conception, every incident, and every character had been without any precedent in literature. INTRODUCTION. II Whether Shakespeare had actually read or seen on the stage a story or play which embodied the main features of the leading plot of Twelfth Night we cannot say with absolute certainty. That he knew the plot had been used before for stories or plays is beyond a doubt. And there is at least a very strong presumption that he deliberately adapted for his own purposes one or other or all of the pieces mentioned above. Manningham in his diary speaks of the resemblance of Twelfth Night to an Italian play which he calls * Inganm1 (the deceived). Probably he had in his mind a Supposed play of that name by Gonzaga (1592) in which a sources: . ,' , 11 c Inganm . girl masquerades as a man under the name 01 Cesare (cf. Viola's Cesario), and is consequently mistaken for her brother. But there is little farther resemblance between Inganni and Twelfth Night. Possibly, however, Manningham was thinking of another play called GVIngannati (the cheated), the likeness of which to Twelfth Night is much more marked. Here 'Gllngan- we have the heroine disguising herself as a boy, nat1-' taking service with a man with whom she is in love, wooing on his behalf the woman with whom he is in love, and win- ning the lady's love for herself; the appearance on the scene of the brother, confusion between brother and sister, marriage of the lady to the brother, subsequent discovery of the whole blunder, and general joyful marrying oft" of everybody. This Italian play was pretty certainly based on Bandello's story above referred to. Yet it is by no means sure that Shakespeare knew of GVIngannati. Probably he did. The literary culture of the day was drawn from Italy; Italian words are rather abundant in this play; and Shakespeare was certainly well acquainted with a good deal of Italian literature, though his knowledge of it may have been derived almost entirely from translators. Still the story of 'Apolonius and Silla' is quite near enough to that of Twelfth Night to have served as the dramatist's model without his going farther afield. On the other hand, Barnabie Riche may very possibly have based \2 TWELFTH NIGHT. his story on Bandello's. It is only important to notice that the likeness between Twelfth Night and GVIngannati does not prove that Shakespeare was actually acquainted with the Italian play; although, just as the name of Cesare in Ingcmni suggests that as a direct source of the English play, the occurrence of the name Malevolti in GVIngannati looks as if it were the original of Shakespeare's Malvolio. The story of Apolonius and Silla presents the same leading features, though some of the details vary. Apolonius is the 'Apolonius Duke of Constantinople; Silla follows him for and Silla.' love, and enters his service as a page. The love- making at cross purposes goes on in the same way; Silla's brother Silvio appears, and except for a certain grossness of incident which Shakespeare almost alone of Elizabethans successfully avoids, the story works out just as do Twelfth Night and GVIngannati. Thus we find that Shakespeare's main plot is a story of which the principal features were common property, while two extant versions, one in English, and one in Italian, bear a close resemblance in many details to the particular version used by Shakespeare; and in another Italian variant, in other respects much less close to Twelfth Night, the heroine adopts the name of Cesare, as Viola adopts that of Cesario. We may fairly conclude, though not with certainty, that Shakespeare had read one or other, per- haps all of them; at any rate he did not construct those main incidents out of his inner consciousness; and if he actually did come across one of those versions, we may be perfectly certain that he would have had no scruple whatever about making precisely as much use of it as suited his convenience. But there is no trace of the underplot, in which Malvolio is the central figure, having been borrowed from anywhere at all ; the interweaving of the plot and underplot is entirely original, and every one of the characters is a creation of Shakespeare's own. The name of the play has no obvious connection with the story. Probably it is merely intended to convey that the comedy was suited for production on Twelfth Night, a feast INTRODUCTION. 13 set apart for mirth and revels. Possibly it was specially intended for production on the Twelfth Night _ . \ , . . , , r The !s ame. of 1602, just before it was witnessed by Man- ningham. The sub-title ' What You Will' is precisely paral- leled by the name of As You Like It— 'call it Twelfth Night, or anything else you please'. It appears that some people did please to call it ' Malvolio' instead, as that name has been written into the copy owned by Charles I. Twelfth Night appears to have maintained its popularity ; it was witnessed (and severely condemned) thrice by Samuel Pepys; it was edited in 1703 by Burnabv, after ,,,.,'. , , . Stage History- the usual method of the ' Restoration dramatists when they edited Shakespeare; Kemble in his day acted the part of Malvolio; and it continues to hold the stage at the present day. 3. APPRECIATION. Professor Dowden has divided Shakespeare's work into four periods. In the first, the dramatist was learning how to work; in the second, he had mastered the Shakespeare's method, and attained the high-water mark in four periods, the simpler forms of production, his mood throughout this period being buoyant, vigorous, and for the most part glad ; in the third stage, the problems of life had assumed for him a grimmer and more complex aspect : to it belong the great tragedies and the two miscalled comedies ofAlTs Well That Ends Well and Measure for Measure; in the fourth he had fought his way through the valley of the shadow and emerged into a clear and serene atmosphere, the mirthfulness of his earlier years and the gloom of his third period giving place to a calm and tender cheerfulness ; the plays of this time being neither tragedies nor comedies proper, but romances. A degree of doubt attaches to the dates of several plays ; and it is, of course, obvious that the prevalent mood of one period may have been the passing mood of another ; that the dramatist may have fallen into temporary gloom, or shaken off his depression, or reached forth by anticipation to the i4 TWELFTH NIGHT. final sense of calm elevation. But, roughly speaking, this classification of the plays is borne out by the general evi- dences of date. In 1601 and 1602 Shakespeare was passing from the joyous to the tragic mood, and Twelfth Night may be reckoned as the last comedy of the second stage. A glance at the list of plays which were probably written from 1596 to 1 60 1 will at once reveal theclose kinship of The second mood which pervades them. Julius Ccesar is the period : Char- -, ■ — - — ~~. T""" r ^^ i i acteristics. only tragedy, and that falls in the closing year. There are two pre-eminently boisterous comedies, The Tam- ing of the Shrew and the Merry Wives of Windsor. In all the rest, pure comedy and romance are combined — whether the romance of war or the romance of love — Henry IV, Henry V, Merchant of Venice, As You Like It, Much Ado, and Twelfth Night. This is the primary characteristic of every one of these plays. The romance may predominate in one, the comedy in another ; the humour may be more rollicking when Falstaff appears, the romance may verge on tragedy in the story of Hero; the ingredients, in short, may be mixed in slightly varying proportions ; but 'to vary the metaphor) the keynote of each is the same — an intense and thorough enjoyment of life, and health, and vigour, a readiness to take things as they come, a freedom from over-anxiety about the morrow, an absence of psychological or metaphysical riddling. By way of illustration, not of definition, one might compare the plays of this period with the novels of Walter Scott, and with less accuracy the plays of the next period with the novels of George Eliot. It is always rather surprising to know that George Eliot regarded Scott as her master; but it becomes less so when we remember that the Shakespeare who drew Hamlet was the same who had drawn Rosalind. Intimately associated with this keen physical vitality is the somewhat astonishing impulsiveness which marks so many Common note of the leading characters throughout this group of impulsive- r . ,. . , . . _ „ , ., ness. of plays. Meditation, hesitation, carefully laid schemes, elaborate reasonings abound in the later works. Here the moment's inspiration is acted upon with a habitual INTRODUCTION. 15 promptitude which would take our breath away if we did not feel it to be so supremely natural in these radiant damsels and their lovers, whose brains are as active as their muscles, and whose muscles are trained to perfection. It takes Rosalind five minutes to make up her mind to assume male attire and tramp off to Arden. Portia's device is no less quickly conceived and swiftly carried out. Neither they nor Viola have a qualm about the possible complications that may result. And the consistency and thoroughness with which heroes, heroines, and minor characters as well, fall in love at first sight, is of the essence of the temper of these romances. Rosalind and Orlando, Celia and Oliver, see each other once, and never a doubt enters the mind of one of them again. Phebe falls in love with the supposed Gany- mede at her first interview. Claudio notices Hero for the first time, and forthwith proposes to marry her. Viola is hi love with Orsino three days after their first meeting ; Olivia falls in love with ' Cesario' and Sebastian with Olivia before they have known each other for five minutes. And they are all perfectly ready to act on this sudden inspiration with a magnificent confidence, eminently characteristic of a time when men habitually had to make up their minds to deal with sudden emergencies on the spur of the moment ; when the spirit of adventure was rife, and a considerable reckless- ness, coupled with a ready hand and a ready tongue, were essentials of success, so that without them romance and comedy were like enough to give place to s\\ ift tragedy in real life no less than on the stage. When we come to compare details, we find a variety of resemblances in the stage devices of at least three of the comedies. In As You Like It, The Merchant, Resemblances and Twelfth Night, the plot turns on the heroine in details. passing herself off as a youth. Phebe falls in love with Rosalind, as Olivia does with Viola. Feste is a more feather-brained Touchstone, as Lancelot Gobbo is a kind of clownish Feste. Lorenzo is first cousin to Orsino, as Sebastian is very near akin to Orlando. And in all these three plays we may particularly remark that it is not the 16 TWELFTH NIGHT. wisdom of a man, but the wit of a woman which controls the ultimate destinies of the actors. Before turning to a detailed examination of the characters in Twelfth Night, we may remark certain general character- istics in the construction of the play. The whole piece is notablv harmonious : the same spirit runs through it from beginning to end. There are many T^Cift!ics?ft Passa&es of a fine poetic beauty in it, such as \TiL'eifth !v4^\Viola's "She never told her love''; the humour waxes somewhat boisterous when Sir Toby is in his cups ; but the jesting is never so broad that it jars with the poetry, the poetry is never so serious that it sets us out of tune for the revelry. The most passionate passages are tinged with humour from the unconscious irony of the situation; the most extravagant scenes are free from any taint of grossness. Comedy and romance are more completely blended— the piece is, so to speak, more thoroughly on one plane all through — than in any other of the series, with the possible exception of As You Like It. The ease with which the story runs on, the technical mastery of construction whereby fresh situations are perpetu- ally evolved without any sense of strain, the entire freedom from patchiness, the unfailing liveliness, the manner in which the attention is riveted on the action from first to last, mark the piece as the production of a past master in the craft of playwriting. By laying the scene in Illyria, the dramatist secures a freedom in the setting of the story which Mould hardly have been obtainable if he had selected a more definite geographical locality. But while even- part is made to fit into every other part, so that everything appears to turn out precisely as it must have happened, Shakespeare was at no pains to ensure that there should be no small slips, nothing which the adverse critic might find to make merry over if he only hunted hard enough. He does not appear to have given Twelfth Night any detailed and accurate revision. Orsino is a count or a duke at pleasure. Malvolio reads Maria's epistle, and proceeds to refer to particular letters as giving (M33) INTRODUCTION. 17 the authorship, although they have not occurred in it at all. Orsino says that Cesario has been in his service three months on the fourth day after Viola landed in Illyria. Shakespeare did not take the trouble to correct these inconsistencies, for the simple reason that no audience would notice them ; they have no effect on the vraisemblance of a story which is avowedly a Twelfth Night extravagance, making no demand for rigid realism : just as he feit himself at perfect liberty to introduce the Fairy Court in tint. Midsummer Xight's Dream, or Hymen in As You Like It, without any intention of imply- ing that Hymen or Oberon are to be met in the flesh by- visitors to the woods of Arden or Attica. Shakespeare would fare but ill at the hands of a conscientious critic of the school which maintains that art is the photographic reproduction of natural objects. The plot of our play is as follows : — The twin sister and brother, Viola and Sebastian, have been wrecked on a voyage. Viola is picked up by a passing vessel, and landed in Illyria. Learning that the „_ ^ , r> • r 1 1 The plot. Duke or Count is a man of good repute, and one who had been known to her father, she resolves to pass her- self off as a youth, and to take service with him as a page, under the name of Cesario. Now Orsino is much in love with a lady named Olivia, who for her part will not heed his suit, being vowed to spend seven years in mourning for a brother who had recently died. Viola in her character of . page rapidly rises in favour with Orsino, who after three days resolves to send her to woo Olivia on his behalf, all uncon- scious that the seeming page is a girl, who has already fallen desperately in love with him. The page gains access to the lady; but, while she fails to win her for the Duke, becomes herself the object of Olivia's passionate affection. Meantime Sebastian appears upon the scene. Olivia, meeting him, takes him for Viola, and straightway begs him to marry her. Sebastian, bewildered but delighted, since he has fallen in love with her at first sight, promptly agrees, and they are formally but privately betrothed without delay. Now Sebastian's ( M 38 ) B iS TWELFTH NIGHT. arrival is accounted for by the fact that he had been picked up by another passing vessel. Antonio, the captain who had rescued him, had done notable service in war against Orsino, and being recognized in the town, is seized and haled before the Duke. As Olivia mistook Sebastian for Viola, so Antonio mistook Viola for Sebastian, and was captured while defend- ing her in a brawl into which she had been forced. Naturally indignant when she declares she has never seen him before, he pours out his wrath on her in the Duke's presence. Orsino deems him mad, but when Olivia appears on the scene and claims ' Cesario ' for her husband, calling to witness the priest who had conducted the ceremony of betrothal, he turns upon her in a rage. The timely entrance of Sebastian leads to a full explanation ; the Duke transfers his affections from Olivia to Viola, Olivia rinds Sebastian an excellent substitute for Viola, and all ends happily. [This, as will be seen, is practically the same plot as that of GPIngannati.] With this is interwoven the underplot, of which the central figure is Malvolio, Olivia's steward. Olivia has an uncle, Sir Toby Belch, who, with his friend, Sir Andrew The underplot Aguecheek, is living at tree quarters in her house Sir Andrew is in truth merely Sir Toby's butt, kept on the premises until Sir Toby shall have thoroughly fleeced him, on the pretext that he is an eminently appropriate suitor for Olivia's hand. Now, the drunken habi's of the two knights are a perpetual offence to the prim steward Malvolio, whose puritanical solemnity is no less a grievance to them, and to the Jester and Maria, Olivia's waiting woman, who. moreover, intends to marry Sir Toby. These four therefore design a trap for Malvolio. inducing him to believe (as he is only too ready to do) that Olivia is in love with him. The trick is effected by means of a letter which Maria leaves in his way, in consequence of which he behaves in so fantastic a fashion that those who are not in the secret believe he has gone out of his wits. He is accordingly confined as a lunatic, but released after a brief interval, when his tormentors have con- fessed to their practical joke. A lively interlude is caused by Sir Andrew's jealousy on INTRODUCTION. 19 account of Olivia's attentions to the Duke's page, which leads to a challenge, and finally to Sebastian being assaulted by mistake for Viola, with disastrous consequences to Sir Andrew and his companions. The heroine and central character of this play is unques- tionably Viola ; whom it is impossible to avoid placing in direct comparison with Rosalind. Both are emi- characters: nently quick-witted and warm-hearted ; both can * lola- face misfortune with resolution, and with a fine capacity for grasping the humorous features of the situation ; each has a feminine horror of blood and bloodshed ; each can assume the boy's part, while the audacity of each is coupled with an innate refinement of such force that the veriest prude could charge neither of them with a suspicion of immodesty. Each has the delicacy of feeling, the tendernessTThe generosity, the tact, the loyalty, and the resourcefulness which make them irresistibly lovable. Of the two, however, Viola has much the more difficult part to play, if only because she must play it unaided, while Rosalind has Celia to give her very material assistance. Yet this is not all ; for Rosalind has her own loyal lover to make love to, and knows all the time that he is in love with her : she can lavish unexpected fascinations on him as she could not have done in her true character ; she has nothing to fear, and no one but herself to consider. Viola, on the other hand, loving Orsino with self-denying devotion, has to woo the affections of a rival on his behalf, with only the semi-consolation that the attempt is obviously useless. Yet even under these hard conditions her generosity never fails. She makes the attempt loyally and frankly. She shows no jealous depreciation when her rival removes the veil from her face, expressing her admiration in terms obviously sin- cere. She carefully shields Olivia when the latter sends Malvolio after her with the ring, as anyone less generous and less quick-witted must have failed to do. She speaks up for Antonio, even when he is railing upon her in a manner wholly unintelligible to her; and all this with the burden of a fresh and unrequited love upon her heart. Altogether, one 20 TWELFTH NIGHT. feels that she is very much too good for Orsino; but then it is almost a universal rule that Shakespeare's heroines are a degree too good for their mates. Olivia is an admirable foil to Viola. Her position as a wealthy heiress has given her a certain habit of dignity which „,. . makes us fancy her somewhat older ; yet if we Olivia. ' , ,._ are to suppose any actual difference in age it must be very slight ; for she evidently ought not to impress us as older than Sebastian. But she has been brought up among grandees ; she is the responsible head of a household which requires skilful and dignified control to keep its mem- bers within tolerable bounds ; and she has developed the stately manner which accords with her position. For all that, she is the most impulsive of the whole very impulsive group, and has something of the spoilt child about her which con- trasts with the combined frankness and self-control of Viola. Her feelings are not so deep, but she is more emotional; like Orsino, she feels a distinct enjoyment in playing with grief; her melancholy is extremely self-conscious, and she is already- beginning to feel aweary of it, and to crave for some new emotion when we are first introduced to her. No one can quite believe in the genuineness of her declaration that she is going to spend seven years in mourning, nor do we feel the smallest surprise when her exaggerated grief gives sudden place to exaggerated passion. Not being endowed with that sense of humour which is the natural enemy of superficial emotion, she gives her sentimentality free play, and is rather proud of it. She is evidently clever and cultivated, but she lacks Viola's readiness of fence and quick resourcefulness. She would have mated ill with Orsino, because she is so like him. Sebastian, with his energy and promptness, is well adapted to give her what she needs. It is something of a flaw in Viola thaf she should care so much for Orsino, but it is common enough to find a strong character like hers becoming devoted to a weak one like his. Highly cultivated, thoroughly artistic, with sensibilities very easily touched, much of what has already been said of Olivia applies to him with at least INTRODUCTION. 21 equal force. He has little real resolution ; his persistence in his suit for Olivia's hand is the obstinacy of a spoilt child which has set its heart on a particular toy — not because an- other would not do equally well, but because it wants to have its own way. . So Orsino languishes for Olivia, and feeds his passion with choice airs, and talks beautifully of the des- perate vehemence of his devotion with graceful self-com- miseration. But he has not the faintest intention of allowing his life to be blighted by an unrequited attachment ; he too has begun to feel that he woutd like some new game to play at ; and when Olivia's marriage is capped by the discovery that he is himself beloved by a particularly charming girl, who is, moreover, a skilled musician, the frantic passion for his former love gives place, without a sign of effort, to an affection which Orsino no doubt afterwards felt to be highly magnanimous and creditable. There is a peculiar and de- lightful irony about the way in which the unconscious count lectures his supposed page on the comparative constancy of men and women, declaring, within the compass of a single scene, that men are much the more fickle and that women are incapable of such intense devotion as his. With Sebastian and Antonio the list of serious characters concludes ; and they call for little remark. Sebastian is so young that his smooth face can be mistaken for his sister's ; but he is a man in manners, and ready to play a man's part with his tongue or his fist, as circumstances may require ; while Antonio is a warm-hearted, hot-headed sailor, ready to take an enemy's life in fair tight or to lose his own on his friend's behalf, loyal, daring to recklessness ; the type of sea-dog with which all England was familiar in the days of Drake and Hawkins. Turning to the characters in the underplot, Fabian and Maria may be dismissed in a few words. The former in fact is superfluous, his only real function being to act as a slightly restraining influence on his boister- 22 TWELFTH NIGHT. ous companions. Maria is a smart waiting-maid, of a type not usually given so much prominence by Shakespeare, but D fitted to the company in which sh^gjg^MMpdf — a clever, quick-witted damsel, with an eye to the main chance and a /very keen enjoyment of a joke, practical or otherwise ; a (Aroung woman who plays her cards with marked success, Secures the downfall of her enemy Malvolio. and captures an \ admiring spouse in the person of Sir Toby; wholly with- out the refined attractiveness of a Nerissa, but decidedly a lively and entertaining companion. Sir Andrew is an ideal butt. He is perhaps the most per- fectly foolish personage ever presented on the stage ; not so much a developed Slender as an embryo Justice Shallow. A complete ignoramus, utterly inca- pable of grasping a witticism, he is anxious to pass as a man of parts, and tumbles into every word-trap that his hero Sir Toby or the Clown lays for him. A perfect and entire coward, he is fain to believe himself a perfect fire-eater. An obvious lout, he swallows compliments on his personal appearance without the dimmest suspicion that he is a general laughing- stock, though he has a naif consciousness that " there be many do call me fool*'. He is a source of endless enjoyment and profit to Sir Toby and to Feste — the former gulling him into an uneasy conviction that he may yet compass a marriage with Olivia, while his crowns are flowing in a steady stream from his own pockets into those of Sir Toby. Feste is a much less original creation than Touchstone. ; He is a clever jester, quick of retort, singularly audacious, and with a special aptitude for introducing sudden and disconcerting turns in conversation which enable him to leave the field with all the honours of victory just when he seems to have been driven into a corner from which there is no escape. But he never gives us those gems of worldly wisdom decked out with motley which render Touchstone supreme among jesters ; nor does he dis- play that benign tenderness of heart which makes the Clown in As You Like It so lovable a cynic. Ingenious critics have indeed found in the closing song an epitome of life's INTRODUCTK >N. 23 philosophy ; yet to the ordinary intelligence the words of that ditty do not convey any exceptionally deep thought. Feste is a mirthful being, and a pleasant songster; but even his wit is at best of the second order, and he has no hidden depth of character. ■ The leader of the roystering crew is Sir Toby Belch : and in him there is a faint reminiscence of Falstaff, though he never approaches the supremacy of the fat knight. The resemblance in fact lies in little more than their common possession of a shrewd wit, an ample good nature, a taste for canary, and a plentiful lack of conscience. Falstaff consumes vast quantities of liquor, but he is never drunk; Sir Toby is never at any time really sober. Falstaff does perpetual battle with the quick wits of Prince Hal; Sir Toby is chiefly occupied in 'drawing' the foolish Sir Andrew. He has an immense and genial appreci- ation of the humours of a situation, a natural skill in talking intentional nonsense, and an aptitude for more or less appro- priate punning; but these qualities will not for a moment bear comparison with the supreme imperturbability of Fal- staff, his power of wriggling out of an impasse, his irresistible audacity, his unfailing ingenuity. The one character in the play about whom there is some- thing of a controversy is Malvolio. To some readers he appears to be a solemn prig, a kind of puritanical „ , ,. _. , . . . . °' .r . Malvoho. Sir Andrew, and nothing more. At the opposite extreme are those who find in his misfortunes a cause of tears rather than laughter. Malvolio appears to me to be one of those characters who have been studied and analysed till criticism has become somewhat mazed. On the one hand, it ought to be quite obvious that he is not merely a solemn prig. He has the complete confidence of Olivia, is clearly held in high esteem by her, and is known to be so by Orsino. His mistress declares that she would not have him miscarry for the half of her dowry, and there is a general desire at the end of the play to soothe him back into good humour. It is impossible not to recognize that he is most conscientious and trustworthy ; but these excellent qualities are marred by an 24 TWELFTH NIGHT. overweening vanity and a perfect lack of humour. Now there is much solace to be derived from the exposure and punishment of villainy ; we feel a glow of conscious virtue when the heavy hand of justice falls upon the evil-doer. But this is not to be compared with the abundant satisfaction of seeing a vain man made into a mock. For the vain man is a perpetual source of irritation ; it is an annoyance to feel that he looks down upon us ; his prosperity is a kind of slight to those admirable qualities of our own which are patent to the shrewd observer though we make no parade of them. And, therefore, when the vain man is brought low, when the pompous man is rendered ridiculous, when the superior per- son is exposed in an act of manifest folly, human nature rejoices greatly. Because he is * sick of self-love', pompous, a prig, the downfall of Malvolio appeals to our instincts as exceedingly right and proper: but because he is a worthy soul at bottom, we are fully satisfied by his one disaster; the balance being redressed, so that he can never more parade his superiority, we have no wish for any farther vengeance; and we are no less pleased that he is to be 1 entreated to a peace' than we were to see him toppled from his high estate. Of Malvolio as a typical puritan T have spoken at length in a note at the end of this volume. It will suffice to remark here that his puritanism is not of the militant theological order, but belongs only to the region of manners and morals. He is an example not of its vices but of its follies : a person to be looked upon not with scorn or hate, but with amuse- ment tempered with respect, and even with pity. For, how- ever overweening his pretensions to virtue, however prepos- terous his dreams may be, the virtues are really there, and it is a hard thing to have one's dreams shattered. Malvolio deserves to be smitten for his vanity ; but he deserves, tool to be respected for his underlying worth. It has been found impossible to retain the Globe number- ins: of the lines in this edition : but it is retained in all refer- INTRODUCTION. ences to other plays. The Globe text, being now generally recognized as the standard, has been adhered Th * to unless for some exceptionally strong reason iff"" though m the notes a preference is occasionally expressed for some other version. ' *"css,ea DRAMATIS PERSONS. Orsixo, Duke of Illyria. Sebastian, brother to Viola. Antonio, a sea captain, friend to Sebastian. A Sea Captain, friend to Viola. Valentine. I „ .-gentlemen attending on the Duke. Curio, J Sir Toby Belch, uncle to Olivia. Sir Andrew Aglecheek. Malvolio, steward to Olivia. Fabian, -( . _ , -servants to Olivia, r este, a clown, J Olivia, a rich countess. Viola. Maria, Olivia's woman. Lords, Priests, Sailors, Officers, Musicians, and other Attendants. Scene : A city in Illyria, and the sea coast near it. TWELFTH NIGHT OR, WHAT YOU WILL. ACT I. SCENE I. A room i?i the Duke's palace. Enter DUKE, CURIO, and other Lords ; Musicians attending. Duke. If music be the food of love, play on ; Give me excess of it, that, surfeiting, The appetite may sicken, and so die. That strain again ! it had a dying fall : O, it came o'er my ear like the sweet sound That breathes upon a bank of violets, Stealing and giving odour ! Enough ; no more : 'T is not so sweet now as it was before. O spirit of love I how quick and fresh art thou, That, notwithstanding thy capacity 10 Receiveth as the sea, nought enters there, Of what validity and pitch soe'er, But falls into abatement and low price, Even in a minute : so full of shapes is fancy That it alone is high fantastical. Cur. Will you go hunt, my lord? Duke. What, Curio? Cur. The hart. Duke. Why, so I do, the noblest that I have : O, when mine eyes did see Olivia first, Methought she purged the air of pestilence ! 20 That instant was I turn'd into a hart ; And my desires, like fell and cruel hounds, E'er since pursue me. Enter VALENTINE. How now ! what news from her? Val. So please my lord, I might not be admitted ; But from her handmaid do return this answer: 28 TWELFTH NIGHT. [Act I. The element itself, till seven years heat, Shall not behold her face at ample view ; But, like a cloistress, she will veiled walk And water once a day her chamber round With eye-offending brine : all this to season 30 A brothers dead love, which she would keep fresh And lasting in her sad remembrance. Duke. O, she that hath a heart of that fine frame To pay this debt of love but to a brother, How will she Ipve, when the rich golden shaft Hath kill'd the flock of all affections else That live in her; when liver, brain and heart, These sovereign thrones, are all supplied, and fill'd Her sweet perfections with one self king! Away before me to sweet beds of flowers : 40 Love-thoughts lie rich when canopied with bowers. [Exeunt. Scene II. The sea-coast. Enter Viola, a Captain, and Sailors. Vio. What country, friends, is this? Cap. This is Illyria, lady. Vio. And what should I do in Illyria? My brother he is in Elysium. Perchance he is not drown'd : what think you, sailors? Cap. It is perchance that you yourself were saved. Vio. O my poor brother! and so perchance may he be. Cap. True, madam : and, to comfort you with chance. Assure yourself, after our ship did split. When you and those poor number saved with you 10 Hung on our driving boat. I saw your brother, Most provident in peril, bind himself, Courage and hope both teaching him the practice, To a strong mast that lived upon the sea ; Where, like Arion on the dolphin's back. I saw him hold acquaintance with the waves So long as I could see. Vio. For saying so, there 's gold : Mine own escape unfoldeth to my hope, Whereto thy speech serves for authority, 20 The like of him. Know'st thou this country? Cap. Ay, madam, well ; for I was bred and born Not three hours' travel from this very place. Vio. Who governs here? Scene 2.] TWELFTH NIGHT. 29 Cap. A noble duke, in nature as in name. Vio. What is his name? Cap. Orsino. . / Ho. Orsino ! I have heard my father name him : He was a bachelor then. Cap. And so is now, or was so very late ; 3c For but a month ago I went from hence, And then 'twas fresh in murmur,— as, you know, What great ones do the less will prattle of, — That he did seek the love of fair Olivia. Vio. What's she? Cap. A virtuous maid, the daughter of a count That died some twelvemonth since, then leaving her In the protection of his son, her brother, Who shortly also died : for whose dear love, They say, she hath abjured the company 40 And sight of men. Vio. O that I served that lady And might not be delivered to the world, Till I had made mine own occasion mellow What my estate is ! Cap. That were hard to compass ; Because she will admit no kind of suit, No, not the duke's. Vio. There is a fair behaviour in thee, captain ; And though that nature with a beauteous wall Doth oft close in pollution, yet of thee I will believe thou hast a mind that suits 50 With this thy fair and outward character. 1 prithee, and I '11 pay thee bounteously, Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent. I ;11 serve this duke : Thou shalt present me as an eunuch to him : It may be worth thy pains; for I can sing And speak to him in many sorts of music That will allow me very worth his service. What else may hap to time I will commit ; 60 Only shape thou thy silence to my wit. Cap. Be you his eunuch, and your mute I '11 be : When my tongue blabs, then let mine eyes not see. Vio. I thank thee : lead me on. \Exeunt. 30 TWELFTH NIGHT. [Act I. Scene III. A room in Olivia's house. Enter Sir Toby Belch and Maria. Sir To. What a plague means my niece, to take the death of her brother thus? I am sure care's an enemy to life. | Mar. By my troth, Sir Toby, you must come in earlier o' nights : your cousin, my lady, takes great exceptions to your ill hours. Sir To. Why, let her except, before excepted. Mar. Ay, but you must confine yourself within the modest limits of order. 8 Sir To. Confine ! I '11 confine myself no finer than I am : these clothes are good enough to drink in ; and so be these boots too : an they be not, let them hang themselves in their own straps. Mar. That quaffing and drinking will undo you : I heard my lady talk of it yesterday : and of a foolish knight that you brought in one night here to be her wooer. Sir To. Who, Sir Andrew Aguecheek? Mar. Ay, he. Sir To. He's as tall a man as any's in Illyria. Mar. What's that to the purpose? Sir To. Why, he has three thousand ducats a year. 20 Mar. Ay, but he '11 have but a year in all these ducats : he 's a very fool and a prodigal. Sir To. Fie, that you '11 say so ! he plays o' the viol-de- gamboys, and speaks three or four languages word for word without book, and hath all the good gifts of nature. Mar. He hath indeed, almost natural : for besides that he :s a fool, he :s a great quarreller ; and but that he hath the gift of a coward to allay the gust he hath in quarrelling, 't is thought among the prudent he would quickly have the gift of a grave. 30 Sir To. By this hand, they are scoundrels and substractors that say so of him. Who are they? Mar. They that add, moreover, he 's drunk nightly in your company. Sir To. With drinking healths to my niece : I '11 drink to her as long as there is a passage in my throat and drink in Illyria : he's a coward and a coystrill that will not drink to my niece till his brains turn o' the toe like a parish-top. What, wench ! Castiliano vulgo ! for here comes Sir Andrew Agueface. 40 Scene 3-] TWELFTH NIGHT. 31 Enter Sir Andrew Aguecheek. Sir And. Sir Toby Belch! how now, Sir Toby Belch! Sir To. Sweet Sir Andrew ! Sir And. Bless you, fair shrew. Mar. And you too, sir. Sir To. Accost, Sir Andrew, accost. Sir And. What 's that ? Sir To. My niece's chambermaid. Sir And. Good Mistress Accost, I desire better acquaint- ance. Mar. My name is Mary, sir. 50 Sir And. Good Mistress Mary Accost, — Sir To. You mistake, knight : ' accost ' is front her, board her, woo her, assail her. Sir And. By my troth, I would not undertake her in this company. Is that the meaning of ' accost'? Mar. Fare you well, gentlemen. Sir To. An thou let part so, Sir Andrew, would thou mightst never draw sword again. Sir And. An you part so, mistress, I would I might never draw sword again. Fair lady, do you think you have fools in hand? 61 Mar. Sir, I have not you by the hand. Sir And. Marry, but you shall have ; and here 's my hand. Mar. Now, sir, 'thought is free': I pray you, bring your hand to the buttery-bar and let it drink. Sir And. Wherefore, sweet-heart? what's your metaphor? Mar. It 's dry, sir. Sir And. Why, I think so : I am not such an ass but I can keep my hand dry. But what's your jest? Mar. A dry jest, sir. yc Sir And. Are you full of them? Mar. Ay, sir, I have them at my fingers' ends : marry, now I let go your hand, I am barren. [Exit. Sir To. O knight, thou lackest a cup of canary : when did I see thee so put down? Sir And. Never in your life, I think; unless you see canary put me down. Methinks sometimes I have no more wit than a Christian or an ordinary man has: but I am a great eater of beef and I believe that does harm to my wit. Sir To. No question. 80 Sir And. An I thought that, I 'Id forswear it. I '11 ride home to-morrow, Sir Toby. Sir To. Pourquoi, my dear knight? 32 TWELFTH NIGHT. [Act I. Sir And. What is 'pourquoi"? do or not do? I would I had bestowed that time in the tongues that I have in fencing, dancing and bear-baiting : O, had I but followed the arts ! Sir To. Then hadst thou had an excellent head of hair. Sir And. Why, would that have mended my hair? Sir To. Past question ; for thou seest it will not curl by nature. 90 Sir And. But it becomes me well enough, does"t not? Sir To. Excellent ; it hangs like flax on a distaff. Sir And. Faith, I'll home to-morrow. Sir Toby: your niece will not be seen: or if she be, it's four to one shell none of me : the count himself here hard by woos her. Sir To. She "11 none o' the count : she '11 not match above her degree, neither in estate, years, nor wit ; I have heard her swear :t. Tut, there's life in't, man. Sir And. I '11 stay a month longer. I am a fellow o' the strangest mind i' the world ; I delight in masques and revels sometimes altogether. 101 Sir To. Art thou good at these kickshawses, knight? Sir And. As any man in Illyria, whatsoever he be, under the degree of my betters; and yet I will not compare with an old man. Sir To. What is thy excellence in a galliard, knight? Sir And. Faith. I can cut a caper. Sir To. And I can cut the mutton to 't. Sir And. And I think I have the back-trick simply as strong as any man in Illyria. no Sir To. Wherefore are these things hid? wherefore have these gifts a curtain before "em? are they like to take dust, like Mistress Mall's picture? why dost thou not go to church in a galliard and come home in a coranto? My very walk should be a jig. What dost thou mean? Is it a world to hide virtues in? I did think, by the excellent constitution of thy leg, it was formed under the star of a galliard. Sir And. Ay, 'tis strong, and it does indifferent well in a flame-coloured' stock. Shall we set about some revels? Sir To. What shall we do else? were we not born under Taurus? 121 Sir And. Taurus! That 's sides and heart. Sir To. Xo. sir; it is legs and thighs. Let me see thee caper : ha : higher : ha, ha ! excellent ! [Exeunt. Scene 4.] TWELFTH NIGHT. 33 Scene IV. A room in the DUKE'S palace. Enter Valentine, and Viola in man's attire. VaL If the duke continue these favours towards you, Cesario, you are like to be much advanced : he hath known you but three days, and already you are no stranger. [ 'io. You either fear his humour or my negligence, that you call in question the continuance of his love : is he inconstant, sir, in his favours? VaL No, believe me. Vio. I thank you. Here comes the count. Enter Duke, Curio, and Attendants. Duke. Who saw Cesario, ho? Vio. On your attendance, my lord ; here. 10 Duke. Stand you a while aloof. Cesario, Thou know'st no less but all ; I have unclasp'd To thee the book even of my secret soul : Therefore, good youth, address thy gait unto her ; Be not denied access, stand at her doors, And tell them, there thy fixed foot shall grow Till thou have audience. / 7o. Sure, my noble lord, If she be so abandon'd to her sorrow As it is spoke, she never will admit me. Duke. Be clamorous and leap all civil bounds 20 Rather than make unprofiied return. r/o. Say I do speak with her, my lord, what then? Duke. O, then unfold the passion of my love. Surprise her with discourse of my dear faith : It shall become thee well to act my woes; She will attend it better in thy youth Than in a nuncio of more grave aspect. Vio. I think not so, my lord. Duke. Dear lad, believe it ; For they shall yet belie thy happy years, That say thou art a man : Diana's lip 30 Is not more smooth and rubious ; thy small pipe Is as the maiden's organ, shrill and sound, And all is semblative a woman's part. I know thy constellation is right apt For this affair. Some four or five attend him : All, if you will; for I myself am best When least in companv. Prosper well in this, ( M 38 ) C 34 TWELFTH NIGHT. [Act I. And thou shalt live as freely as thy lord, To call his fortunes thine. Vio. I '11 do my best To woo your lady : [Aside] yet. a barful strife ! 40 Whoe'er I woo. myself would be his wife. [Exeunt. Scene V. A room in Olivia's house. Enter Maria and Clown. Mar. Nay, either tell me where thou hast been, or I will not open my lips so wide as a bristle may enter in way of thy excuse : my lady will hang thee for thy absence. Clo. Let her hang me : he that is well hanged in this world needs to fear no colours. Mar. Make that good. Clo. He shall see none to fear. Mar. A good lenten answer: I can tell thee where that saying was born, of ' I fear no colours '. Clo. Where, good Mistress Man? 10 Mar. In the wars ; and that may you be bold to say in your foolen-. Clo. Well. God give them wisdom that have it ; and those that are fools, let them use their talents. Mar. Yet you will be hanged for being so long absent ; or, to be turned away, is not that as good as a hanging to you ': Clo. Many a good hanging prevents a bad marriage; and, for turning away, let summer bear it out. Mar. You are resolute, then? Clo. Not so. neither ; but I am resolved on two points. 20 Mar. That if one break, the other will hold ; or, if both break, your gaskins fall. Clo. Apt, in good faith: very apt. Well, go thy way: if Sir Toby would leave drinking, thou wert as witty a piece of Eve's flesh as any in Illyria. Mar. Peace, you rogue, no more o: that. Here comes my lady : make your excuse wisely, you were best. [Exit. Clo. Wit. an ;t be thy will, put me into good fooling ! Those wits, that think they have thee, do very oft prove fools; and I, that am sure I lack thee, may pass for a wise man : for what says Quinapalus? * Better a witty fool than a foolish wit ;. 32 Enter Lady Olivia with Malvolio. God bless thee, lady ! OIL Take the fool away. Scene 5.] TWELFTH NIGHT. 35 Clo. Do you not hear, fellows? Take away the lady. Oli. Go to, you 're a dry fool ;' I '11 no more of you : besides, you grow dishonest. 37 Clo. Two faults, madonna, that drink and good counsel will amend : for give the dry fool drink, then is the fool not dry: bid the dishonest man mend himself; if he mend, he is no longer dishonest ; if he cannot, let the botcher mend him.< Any thing that 's mended is but patched : virtue that trans- gresses is but patched with sin ; and sin that amends is but patched with virtue. If that this simple syllogism will serve, so ; if it will not, what remedy? As there is no true counsellor but calamity, so beauty's a flower. The lady bade take away the fool ; therefore, I say again, take her away. 47 Oil. Sir, I bade them take away you. Clo. Misprision in the highest degree ! Lady, cucullus non facit monachum ; that 's as much to say as I wear not motley in my brain. Good madonna, give me leave to prove you a fool. 52 Oli. Can you do it? Clo. Dexteriously, good madonna. Oli. Make your proof. Clo. I must catechize you for it, madonna : good my mouse of virtue, answer me. ( V/. Well, sir, for want of other idleness, I '11 bide your proof. Clo. Good madonna, why mournest thou? 60 Oli. Good fool, for my brother's death. Clo. I think his soul is in hell, madonna. Oli. I know his soul is in heaven, fool. Clo. The more fool, madonna, to mourn for your brother's soul being in heaven. Take away the fool, gentlemen. Oli. What think you of this fool, Malvolio? doth he not mend ? Mai. Yes, and shall do till the pangs of death shake him : infirmity, that decays the wise, doth ever make the better fool. 70 Clo. God send you, sir, a speedy infirmity, for the better increasing your folly ! Sir Toby will be sworn that I am no fox ; but he will not pass his word for twopence that you are no fool. Oli. How say you to that, Malvolio? Mai. I marvel your ladyship takes delight in such a barren rascal : I saw him put down the other day with an ordinary fool that has no more brain than a stone. Look you now, he 's out of his guard already ; unless you laugh and minister 36 TWELFTH NIGHT. [Act I. occasion to him, he is gagged. I protest, I take these wise men, that crow so at these set kind of fools, no better than the fools' zanies. 82 Oli. O, you are sick of self-love, Malvolio, and taste with a distempered appetite. To be generous, guiltless and of free disposition, is to take those things for bird-bolts that you deem cannon-bullets : there is no slander in an allowed fool, though he do nothing but rail ; nor no railing in a known dis- creet man, though he do nothing but reprove. Clo. Now Mercury endue thee with leasing, for thou speakest well of fools ! 90 Re-enter Maria. Mar. Madam, there is at the gate a young gentleman much desires to speak with you. Oli. From the Count Orsino, is it? Mar. I know not, madam : 't is a fair young man, and well attended. Oli. Who of my people hold him in delay? Mar. Sir Toby, madam, your kinsman. Oli. Fetch him off, I pray you ; he speaks nothing but madman: fie on him! [Exit Jfaria.] Go you, Malvolio; if it be a suit from the count, I am sick, or not at home ; what you will, to dismiss it. [Exit Malvolio.~\ Now you see, sir, how your fooling grows old, and people dislike it. 102 Clo. Thou hast spoke for us, madonna, as if thy eldest son should be a fool ; whose skull Jove cram with brains 1 for,— here he comes, — one of thy kin has a most weak pia mater. Enter Sir To BY. Oli. By mine honour, half drunk. What is he at the gate, cousin ? Sir To. A gentleman. Oli. A gentleman .' what gentleman ? Sir To. 'Tis a gentleman here — a plague o' these pickle- herring ! How now, sot ! Clo. Good Sir Toby? fir Oli. Cousin, cousin, how have you come so early by this lethargy? Sir To. Lethargy ! I defy lethargy. There 's one at the gate. Oli. Ay, mam-, what is he? Sir To. Let him be the devil, an he will, I care not : give me faith, say I. Well, it's all one. [Exit. Oli. What's a drunken man like, fool? Scene 5.] TWELFTH NIGHT. 37 Clo. Like a drowned man, a fool and a mad man : one draught above heat makes him a fool; the second mads him; and a third drowns him. 123 Oli. Go thou and seek the crowner, and let him sit o' my coz ; for he *s in the third degree of drink, he 's drowned : go, look after him. Clo. He is but mad yet, madonna ; and the fool shall look to the madman. [Exit Re-enter MALVOLIO. Mai. Madam, yond young fellow swears he will speak with you. I told him you were sick ; he takes on him to under- stand so much, and therefore comes to speak with you. I told him you were asleep ; he seems to have a foreknowledge of that too, and therefore comes to speak with you. What is to be said to him, lady? he's fortified against any denial. 134 Oli. Tell him he shall not speak with me. Mai. Has been told so; and he says, he'll stand at your door like a sheriff's post, and be the supporter to a bench, but he '11 speak with you. Oli. What kind o' man is he? Mai. Why, of mankind. Oli. WThat manner of man ? Mai. Of very ill manner; he'll speak with you, will you or no. 143 Oli. Of what personage and years is he? Mai. Not yet old enough for a man. nor young enough for a boy ; as a squash is before 't is a peascod, or a codling when 't is almost an apple : 't is with him in standing water, between boy and man. He is very well-favoured and he speaks very shrewishly; one would think his mother's milk were scarce out of him. Oli. Let him approach : call in my gentlewoman. 1 5 1 Mai. Gentlewoman, my lady calls. [Exit Re-enter Maria. Oli. Give me my veil : come, throw it o'er my face. We'll once more hear Orsino's embassy. Enter Viola and Attendants. Vio. The honourable lady of the house, which is she? Oli. Speak to me ; I shall answer for her. Your will? Vio. Most radiant, exquisite and unmatchable beauty, — I pray you, tell me if this be the lady of the house, for I never 38 TWELFTH NIGHT. [Act I. saw her : I would be loath to cast away my speech, for besides that it is excellently well penned, I have taken great pains to con it. Good beauties, let me sustain no scorn ; I am very comptible. even to the least sinister usage. 163 Oli. Whence came you, sir? Vio. I can say little more than I have studied, and that question ;s out of my part. Good gentle one, give me modest assurance if you be the lady of the house, that I may proceed in my speech. Oli. Are you a comedian? Vio. Xo. my profound heart: and yet, by the very fangs of malice I swear, I am not that I play. Are you the lady of the house? 172 Oil. If I do not usurp myself, I am. Vio. Most certain, if you are she, you do usurp yourself; for what is yours to bestow is not yours to reserve. But this is from my commission : I will on with my speech in your praise, and then show you the heart of my message. OH. Come to what is important in't: I forgive you the praise. 1 79 Vio. Alas, I took great pains to study it. and 'tis poetical. Oli. It is the more like to be feigned: I pray you, keep it in. I heard you were saucy at my gates, and allowed your approach rather to wonder at you than to hear you. If you be not mad, be gone; if you have reason, be brief: 'tis not that time of moon with me to make one in so skipping a dialogue. Mar. Will you hoist sail, sir? here lies your way. Vio. Xo. good swabber; I am to hull here a little longer. Some mollification for your giant, sweet lady. (£>/£) Tell me your mind. 190 Vio. I am a messenger. Oli. Sure, you have some hideous matter to deliver, when the courtesy of it is so fearful. Speak your office. Vio. It alone concerns your ear. I bring no overture of war, no taxation of homage : I hold the olive in my hand ; my words are as full of peace as matter. Oli. Yet you began rudely. What are you? what would you ? J rio. The rudeness that hath appeared in me have I learned from my entertainment. What I am, and what I would, are as secret as maidenhood ; to your ears, divinity, to any other s, profanation. 202 Oli. Give us the place alone: we will hear this divinity. [Exeunt Maria and Attendants.] Now, sir, what is your text? Scene 5.] TWELFTH NIGHT 39 Vio. Most sweet lady, — OIL A comfortable doctrine, and much may be said of it. Where lies your text? Vio. In Orsino's bosom. Oli. In his bosom! In what chapter of his bosom? 210 Vio. To answer by the method, in the first of his heart. Oli. O, I have read it: it is heresy. Have you no more to Vio. Good madam, let me see your face. Oli. Have you any commission from your lord to negotiate with my face? You are now out of your text: but we will draw the curtain and show you the picture. Look you, sir, such a one I was this present : is ;t not well done? \Unveiling. Vio. Excellently done, if God did all. Oli. 'T is in grain, sir; :t will endure wind and weather. 220 Vio. 'T is beauty truly blent, whose red and white Nature's own sweet and cunning hand laid on : Lady, you are the cruell'st she alive, If you will lead these graces to the grave And leave the world no copy. Oli. O, sir, I will not be so hard-hearted ; I will give out divers schedules of my beauty : it shall be inventoried, and every particle and utensil labelled to my will : as, item, two lips, indifferent red ; item, two grey eyes, with lids to them ; item, one neck, one chin, and so forth. Were you sent hither to praise me? 231 Vio. I see you what you are, you are too proud ; But, if you were the devil, you are fair. My lord and master loves you : O, such love Could be but recompensed, though you were crown"d The nonpareil of beauty ! Oli. How does he love me? Vio. With adorations, with fertile tears, With groans that thunder love, with sighs of fire. Oli. Your lord does know my mind ; I cannot love him : Yet I suppose him virtuous, know him noble, 240, Of great estate, of fresh and stainless youth ; In voices well divulged, free, leanvd and valiant And in dimension and the shape of nature A gracious person : but yet I cannot love him ; He might have took his answer long ago. Vio. If I did. love you in my masters flame, With such a suffering, such a deadly life, In your denial I would find no sense; I would not understand it. 40 TWELFTH NIGHT. [Act I. OIL Why. what would you? Via. Make me a willow cabin at your gate, 250 And call upon my soul within the house ; Write loyal cantons of contemned love And sing them loud even in the dead of night; Halloo your name to the reverberate hills And make the babbling gossip of the air Cry out ' Olivia!' O, you should not rest Between the elements of air and earth, But you should pity me ! OIL You might do much. What is your parentage? Via. Above my fortunes, yet my state is well : 260 I am a gentleman. OIL Get you to your lord ; I cannot love him : let him send no more ; Unless, perchance, you come to me again, To tell me how he takes it. Fare you well : I thank you for your pains : spend this for me. Vio. I am no fee'd post, lady; keep your purse: My master, not myself, lacks recompense. Love make his heart of flint that you shall love ; And let your fervour, like my master's, be 269 Flaced in contempt ! Farewell, fair cruelty. [Exit. OH. What is your parentage? ; 1 Above my fortunes, yet my state is well : I am a gentleman.' I "11 be sworn thou art ; Thy tongue, thy face, thy limbs, actions and spirit, Do give thee five-fold, blazon : not too fast : soft, soft ! Unless the master were the man. How now ! Even so quickly may one catch the plague? Methinks I feel this youth's perfections With an invisible and subtle stealth To creep in at mine eyes. Well, let it be. 280 What ho, Malvolio ! Re-enter Malvolio. Mai. Here, madam, at your service. OH. Run after that same peevish messenger. The county's man : he left this ring behind him, Would I or not : tell him I '11 none of it. Desire him not to flatter with his lord, Nor hold him up with hopes : I "m not for him . If that the youth will come this way to-morrow, I ;11 give him reasons for 't : hie thee, Malvolio. Scene 5.] TWELFTH NIGHT. 41 Mai. Madam, I will. [Exit. OIL I do I know not what, and fear to find 290 Mine eye too great a flatterer for my mind. Fate, show thy force : ourselves we do not owe; What is decreed, must be, and be this so. [Exit. ACT II. Scene I. The sea-coast. Enter ANTONIO and Sebastian. Ant. Will you stay no longer? nor will you not that I go with you? Seb. By your patience, no. My stars shine darkly over me : the malignancy of my fate might perhaps distemper yours ; therefore I shall crave of you your leave that I may bear my evils alone : it were a bad recompense for your love, to lay any of them on you. Ant. Let me yet know of you whither you are bound. 8 Seb. No, sooth, sir: my determinate voyage is mere extra- vagancy. But I perceive in you so excellent a touch of modesty, that you will not extort from me what I am willing to keep in ; therefore it charges me in manners the rather to express myself. You must know of me then, Antonio, my name is Sebastian, which I called Roderigo. My father was that Sebastian of Messaline, whom I know you have heard of. He left behind him myself and a sister, both born in an hour: if the heavens had been pleased, would we had so ended ! but you, sir, altered that ; for some hour before you took me from the breach cf the sea was my sister drowned. Ant. Alas the day! 20 Seb. A lady, sir, though it was said she much resembled me, was yet of many accounted beautiful: but, thcugh I could not with such estimable wonder cverfar believe that, yet thus far I will boldly publish her; she bore a mind that envy could not but call fair. She is drowned already, sir, with salt water, though I seem to drown her remembrance again with more. Ant. Pardon me, sir, your bad entertainment. Seb. O good Antonio, forgive me your trouble. Ant. If you will not murder me for my love, let me be your servant. 30 42 TWELFTH NIGHT. [Act II Seb. If you will not undo what you have done, that is, kill him whom you have recovered, desire it not. Fare ye well at once : my bosom is full of kindness, and I am yet so near the manners of my mother, that upon the least occasion more mine eyes will tell tales of me. I am bound to the Count Orsino's court : farewell. {Exit. Ant. The gentleness of all the gods go with thee \ I have many enemies in Orsino;s court, Else would I very shortly see thee there. 40 But, come what may, I do adore thee so, That danger shall seem sport, and I will go. [Exit. Scene II. A street. Enter VlOLA, MALVOLlO following. Mai. Were you not even now with the Countess Olivia? Vio. Even now, sir; on a moderate pace I have since arrived but hither. Mai. She returns this ring to you. sir: you might have saved me my pains, to have taken it away yourself. She adds, moreover, that you should put your lord into a des- perate assurance she will none of him : and one thing more, that you be never so hardy to come again in his affairs, unless it be to report your lord's taking of this. Receive it so. 10 [ lo. She took the ring of me : 1 :11 none of it. Mai. Come, sir, you peevishly threw it to her ; and her will is, it should be so returned: if it be worth stooping for, there it lies in your eye : if not, be it his that finds it. [Ex/t. Vio. I left no ring with her: what means this lady? Fortune forbid my outside have not charm'd her ! She made good view of me ; indeed, so much, That sure methought her eyes had lost her tongue, For she did speak in starts distractedly. She loves me, sure: the cunning of her passion 20 Invites me in this churlish messenger. None of my lord's ring ! why, he sent her none. I am the man : if it be so, as 't is, Poor lady, she were better love a dream. Disguise, I see, thou art a wickedness^ Wherein the pregnant enemy does much. How easy is it for the proper-false In women's waxen hearts to set their forms ! Alas, our frailty is the cause, not we ! Scene 3. J TWELFTH NIGHT. 43 For such as we are made of, such we be. • 30 How will this fadge? my master loves her dearly; And I, poor monster, fond as much on him : And she, mistaken, seems to dote on me What will become of this? As I am man, My state is desperate for my masters love ; As I am a woman, — now alas the day ! — What thriftless sighs shall poor Olivia breathe ! 0 time ! thou must untangle this, not I ; It is too hard a knot for me to untie \ {Exit. Scene III. A room in Olivia's house. Enter Sir Toby and Sir Andrew. Sir To. Approach. Sir Andrew: not to be a-bed after mid- night is to be up betimes ; and ' diluculo surgere ;, thou know'st,— Sir And. Nay, by my troth, I know not: but I know, to be up late is to be up late. Sir To. A false conclusion: I hate it as an unfilled can. To be up after midnight and to go to bed then, is early : so that to go to bed after midnight is to go to bed betimes. Does not our life consist of the four elements? Sir And. Faith, so they say ; but I think it rather consists of eating and drinking. 1 1 Sir To. Thou 'rt a scholar ; let us therefore eat and drink. Marian, I say! a stoup of wine ! Enter CLOWN. Sir And. Here comes the fool, i' faith. Clo. How now, my hearts ! did you never see the picture of k we three ' ? Sir To. Welcome, ass. Now let's have a catch. Sir And. By my troth, the fool has an excellent breast. 1 had rather than forty shillings I had such a leg, and so sweet a breath to sing, as the fool has. In sooth, thou wast in very gracious fooling last night, when thou spokest of Pigrogro- mitus, of the Yapians passing the equinoctial of Queubus : 't was very good, i' faith. I sent thee sixpence for thy leman : hadst it? 24 Clo. I did impeticos thy gratillity ; for Malvolio's nose is no whipstock : my lady has a white hand, and the Myrmidons are no bottle-ale houses. Sir And. Excellent! why, this is the best fooling, when all is done. Now, a song. 44 TWELFTH NIGHT. [Act II. Sir To. Come on ; there is sixpence for you : let ;s have a song. 3 1 Sir And. There 's a testril of me too : if one knight give a — Clo. Would you have a love-song, or a song of good life? Sir To. A love-song, a love-song. Sir And. Ay. ay i 1 care not for good life. Clo. [Sings] O mistress mine, where are you roaming? O, stay and hear; your true love's coming, That can sing both high and low : Trip no further, pretty sweeting ; Journeys end in lovers meeting, 40 Every wise man's son doth know. Sir And. Excellent good, i' faith. Sir To. Good, good. Clo. [Sings] What is love? 'tis not hereafter; Present mirth hath present laughter ; What 's to come is still unsure : In delay there lies no plenty; Then come kiss me. sweet and twenty, Youth's a stuff" will not endure. Sir And. A mellifluous voice, as I am true knight. 50 Sir To. A contagious breath. Sir Aytd. Very sweet and contagious, i; faith. Sir To. To hear by the nose, it is dulcet in contagion. But shall we make the welkin dance indeed? shall we rouse the night-owl in a catch that will draw three souls out of one weaver? shall we do that? Sir And. An you love me, let 's do't : I am dog at a catch. Clo. By 'r lady. sir. and some dogs will catch well. Sir And. Most certain. Let our catch be, ' Thou knave". Clo. ' Hold thy peace, thou knave', knight? I shall be constrained in 't to call thee knave, knight. 61 Sir And. 'T is not the first time I have constrained one to call me knave. Begin, fool : it begins ' Hold thy peace '. Clo. I shall never begin if I hold my peace. Sir And. Good, i' faith. Come, begin. [Catch sung. Enter Maria. Mar. What a caterwauling do you keep 'here ! If my lady have not called up her steward Malvolio and bid him turn you out of doors, never trust me. Scene 3.] TWELFTH NIGHT. 45 Sir To. My lady's a Cataian, we are politicians, Malvolio ;s a Peg-a-Ramsey, and 'Three merry men be we*. Am not I inguineous? am I not of her blood? Tillyvally. Lady! \Sings[ 'There dwelt a man in Babylon, lady, lady!' 72 Clo. Beshrew me, the knight 's in admirable fooling. Sir And. Ay, he does well enough if he be disposed, and so do I too : he does it with a better grace, but I do it more natural. Sir To. \Sings\ ' O, the twelfth day of December', — Mar. For the love o' God, peace ! Enter Malvolio. ^ Mai. My masters, are you mad? or what are you? Have you no wit, manners, nor honesty, but to gabble like tinkers at this time of night? Do ye make an alehouse of my lady's house, that ye squeak out your cozjers' catches without any mitigation or remorse of voice? Is there no respect of place, persons, nor time in you? 84 Sir To. We did keep time, sir, in our catches. Sneck up ! Mai. Sir Toby, I must be round with you. My lady bade me tell you, that, though she harbours you as her kinsman, she's nothing allied to your disorders. If you can separate yourself and your misdemeanours, you are welcome to the house ; if not, an it would please you to take leave of her, she is very willing to bid you farewell. 91 Sir To. ' Farewell, dear heart, since I must needs be gone.' Mar. Nay, good Sir Toby. Clo. ' His eyes do show his days are almost done." Mai. Is 't even so? Sir To. ' But I will never die.' Clo. Sir Toby, there you lie. Mai. This is much credit to vou. Sir To. ' Shall I bid him go?' 100 Clo. 'What an if you do?" Sir To. i Shall I bid him go, and spare not?' Clo. ' O no, no, no, no, you dare not.' Sir To. Out o' tune, sir: ye lie. Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale? Clo. Yes, by Saint Anne, and ginger shall be hot i' the mouth too. Sir To. Thou 'rt i: the right. Go, sir, rub your chain with crumbs. A stoup of wine, Maria ! no Mai. Mistress Mary, if you prized my lady's favour at any 46 TWELFTH NIGHT. [Act II. thing more than contempt, you would not give means for this uncivil rule : she shall know of it, by this hand. {Exit. Mar. Go shake your ears. Sir And. 'T were as good a deed as to drink when a man 's a-hungry, to challenge him the field, and then to break pro- mise with him and make a fool of him. Sir To. Do't, knight: I "11 write thee a challenge; or I'll deliver thy indignation to him by word of mouth. 1 19 Mar. Sweet Sir Toby, be patient for to-night : since the youth of the count's was to-day with my lady, she is much out of quiet. For Monsieur Malvolio, let me alone with him: if I do not gull him into a nayword, and make him a common recreation, do not think I have wit enough to lie straight in my bed : I know I can do it. Sir To. Possess us, possess us ; tell us something of him. Mar. Marry, sir, sometimes he is a kind of puritan. Sir A7id. O, if I thought that, I 'Id beat him like a dog! Sir To. What, for being a puritan? thy exquisite reason, dear knight? 130 Sir And. I have no exquisite reason for't, but I have reason good enough. Mar. The devil a puritan that he is, or any thing con- stantly, but a time-pleaser ; an affectioned ass, that cons state without book and utters it by great swarths : the best per- suaded of himself, so crammed, as he thinks, with excellencies, that it is his grounds of faith that all that look on him love him ; and on that vice in him will my revenge find notable cause to work. Sir To. What wilt thou do? 140 Mar. I will drop in his way some obscure epistles of love ; wherein, by the colour of his beard, the shape of his leg, the manner of his gait, the expressure of his eye, forehead, and complexion, he shall find himself most feelingly personated. I can write very like my lady your niece : on a forgotten matter we can hardly make distinction of our hands. Sir To. Excellent ! I smell a device. Sir A?id. I have't in my nose too. Sir To. He shall think, by the letters that thou wilt drop, that they come from my niece, and that she 's in love with him. 1 5 1 Mar. My purpose is. indeed, a horse of that colour. Sir And. And your horse now would make him an ass. Mar. Ass, I doubt not. Sir A?id. O, 't will be admirable ! Mar. Sport royal, I warrant you : I know my physic will Scene 4.] ' TWELFTH NIGHT. 47 work with him. I will plant you two, and let the fool make a third, where he shall find the' letter: observe his construction of it. For this night, to bed, and dream on the event. Fare- well. {.Exit. Sir To. Goodnight, Penthesilea. 161 Sir And. Before me, she 's a good wench. Sir To. She's a beagle, true-bred, and one that adores me: what o' that? Sir And. I was adored once too. Sir To. Let 's to bed, knight. Thou hadst need send for more money. Sir And'. If I cannot recover your niece, I am a foul way out. Sir To. Send for money, knight : if thou hast her not i' the end, call me cut. 17 l Sir And. If I do not, never trust me, take it how you will. Sir To. Come, come, I '11 go burn some sack; 't is too late to gp to bed now : come, knight ; come, knight. [Exeunt. Scene IV. — A room in the Duke's palace. Enter Duke, Viola, Curio, and others. Duke. Give me some music. Now, good morrow, friends. Now, good Cesario, but that piece of song,«-^%— — ^^ That old and antique song we heard last night : Methought it did relieve my passion much, More than light airs and recollected terms Of these most brisk and giddy-paced times : Come, but one verse. Cur. He is not here, so please your lordship, that should sing it. Duke. Who was it? 10 Cur. Feste, the jester, my lord; a fool that the lady Olivia's father took much delight in. He is about the house. Duke. Seek him out, and play the tune the while. [Exit Curio. Music plays. fa Come hither, boy 1 if ever thou shalt love, In the sweet pangs of it remember me ; For* such as I am all true lovers are, Unstaid ancTsluttish in all motions else, Save in the constanLJmage of the creature That is beloved. How dost thou like this tune? Vio. It gives a very echo to the seat 20 Where Love is throned. 48 TWELFTH NIGHT. [Act II. Duke. Thou dost speak masterly : My life upon't, young though thou art, thine eye Hath stay'd upon some favour that it loves : Hath it not, boy? Vio. A little, by your favour, Duke. What kind of woman is't? Vio. Of your complexion. Duke. She is not worth thee, then. What years, i' faith? Vio. About your years, my lord. Duke. Too old, by heaven : let still the woman take An elder than herself; so wears she to him, 3c So sways she level in her husband's heart : For, boy, however we do praise ourselves, Our fancies are more giddy and unfirm, More longing, wavering, sooner lost and worn, Than women's are. Vio. I think it well, my lord. Duke. Then let thy love be younger than thyself. Or thy affection cannot hold the bent ; For women are as roses, whose fair flower Being once display'd, doth fall that very hour.' Vio. And so they are: alas, that they are so; 40 To die, even when they to perfection grow ! Re-enter CURIO and Clown. Duke. O, fellow, come, the song we had last night. Mark it, Cesario. it is old and plain : The spinsters and the knitters in the sun And the free maids that weave their thread with bones Do use to chant it : it is silly sooth, And dallies with the innocence of love, Like the old age. Clo. Are you ready, sir? Duke. Ay ; prithee, sing. [Music. 50 Song. Clo. Come away, come away, death, And in sad cypress let me be laid \**m** Fly away, fly away, breath : I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O, prepare it ! My part of death, no one so true Did share it. Scene 4.] TWELFTH NIGHT. 40 Not a flower, not a flower sweet, On my black coffin let there be strown ; 60 Not a friend, not a friend greet My poor corpse, where my bones shall be thrown : A thousand thousand sighs to save, Lay me, O, where Sad true lover never find my grave, To weep there ! Puke. There's for thy pains. Clo. No pains, sir; I take pleasure in singing, sir. Duke. I '11 pay thy pleasure then. Clo. Truly, sir, and pleasure will be paid, one time or mother. 71 Duke. Give me now leave to leave thee. Clo. Now, the melancholy god protect thee ; and the tailor make thy doublet of changeable taffeta, for thy mind is a very opal. I would have men of such constancy put to sea, that their business might be every thing and their intent every .here; for that's it that always makes a good voyage of rothing. Farewell. [Exit, Duke. Let all the rest give place. [Curie and Attendants retire. Once more, Cesario, Get thee to yond same sovereign cruelty : 80 Tell her, my love, more noble than the world, ! rizes not quantity of dirty lands ; The parts that fortune hath bestow'd upon her, Tell her, I hold as giddily as fortune ; But 't is that miracle and queen of gems That nature pranks her in attracts my soul, Vio. But if she cannot love you, sir? Duke. I cannot be so answer'd. I rio. Sooth, but you must. viy that some lady, as perhaps there is. Hath for your love as great a pang of heart 90 As you have for Olivia: you cannot love her; :ell her so ; must she not then be answer'd? Duke. There is no woman's sides C in bide the beating of so strong a passion \ love doth give my heart; no woman's heart S 1 big, to hold so much ; they lack retention. . their love may be call'd appetite, No motion of the liver, but the palate, ( m 38 ) D 50 TWELFTH NIGHT. [Act II. That suffer surfeit, cloyment and revolt ; But mine is all as hungry as the sea, ioo And can digest as much :'~make no compare Between that love a woman can bear me And that I owe Olivia. « Vio. Ay. but I know — Duke. What dost thou know? Vio. Too well what love women to men may owe: In faith, they are as true of heart as we. My father had a daughter loved a man. As it might be. perhaps, were I a woman. I should your lordship. Duke. And what;s her history? Vio. A blank, my lord, j She never told her love, no But let concealment, like a worm i' the bud. Feed on her damask cheek : she pined in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief. Was not this love indeed? We men may say more, swear more : but indeed Our shows are more than will ; for still we prove Much in our vows, but little in our love. Duke. But died thy sister of her love, my boy? Vio. I am all the daughters of my fathers house, 120 And all the brothers too : and yet I know not. Sir. shall I to this lady? Duke. Ay, that ;s the theme. To her in haste : give her this jewel : say, My love can give no place, bide no denay. [Exeunt. Scene V. Olivia's garden. Enter Sir Toby. Sir Andrew, and Fabian Sir To. Come thy ways, Signior Fabian. Fab. Nay, I ;11 come : if I lose a scruple" of this sport, let me be boiled to death with melancholy. Sir To. Wouldst thou not be glad 'to have the niggardly rascally sheep-biter come by some notable shame? Fab. I would exult, man : you know, he brought me out o: favour with my lady about a bear-baiting here. Sir To. To anger him we'll have the bear again; and we will fool him black and blue: shall we not. Sir Andrew? Sir And. An we do not, it is pity of our lives. 10 Sir To. Here comes the little villain. Scene 5.] TWELFTH NIGHT. 51 Enter Maria. How now, my metal of India! Mar. Get ye all three into the box-tree: Malvolio's coming clown this walk: he has been yonder i' the sun practising behaviour to his own shadow this half hour : observe him, for the love of mockery ; for I know this letter will make a con- templative idiot of him. Close, in the name of jesting! Lie thou there [throws down a letter] ; for here comes the trout that must be caught with tickling. {Exit. Enter Malvolio. Mai. ;T is but a fortune ; all is fortune. Maria once told me she did affect me : and I have heard herself come thus near, that, should she fancy, it should be one of my com- plexion. Besides, she uses me with a more exalted respect than any one else that follows her. What should I think on't? 25 Sir To. Here's an overweening rogue! Fab. O, peace ! Contemplation makes a rare turkey-cock of him : how he jets under his advanced plumes ! Sir And. '5 light, I could so beat the rogue ! Sir To. Peace, I say. 30 Mai. To be Count Malvolio ! Sir To. Ah, rogue ! Sir And. Pistol him, pistol him. Sir To. Peace, peace ! Mai. There is example for't; the lady of the Strachy married the yeoman of the wardrobe. Sir And. Fie on him, Jezebel ! Fab. O, peace ! now he 's deeply in : look how imagination blows him. Mai. Having been three months married to her, sitting in my state, — 41 Sir To. O, for a stone-bow, to hit him in the eye ! Mai. Calling my officers about me, in my branched velvet gown ; having come from a day-bed, where I have left Olivia sleeping, — Sir To. Fire and brimstone ! Fab. O, peace, peace ! Mai. And then to have the humour of state ; and after a demure travel of regard, telling them I know my place as I would they should do theirs, to ask for kinsman Toby,— 50 Sir To. Bolts and shackles ! Fab. O peace, peace, peace ! now, now. 52 TWELFTH NIGHT. [Act II. Mai. Seven of my people, with an obedient start, make out for him : I frown the while ; and perchance wind up my watch, or play with my — some rich jewel. Toby approaches ; courtesies there to me, — Sir To. Shall this fellow live? Fab. Though our silence be drawn from us with cars, yet peace. Mai. I extend my hand to him thus, quenching my familiar smile with an austere regard of control, — 61 Sir To. And does not Toby take you a blow o; the lips then ? Mai. Saying, ' Cousin Toby, my fortunes having cast me on your niece give me this prerogative of speech', — Sir To. What, what? Mai. ' You must amend your drunkenness.' Sir To. Out, scab ! Fab. Nay, patience, or we break the sinews of our plot. Mai. ' Besides, you waste the treasure of your time with a foolish knight," — 7 1 Sir And. That 's me, I warrant you. Mai. ' One Sir Andrew,' — Sir And. I knew 't was I ; for many do call me fool. Mai. What employment have we here? [ Taking up the letter. Fab. Now is the woodcock near the gin. Sir To. O, peace ! and the spirit of humours intimate reading aloud to him ! Mai. By my life, this is my lady's hand : these be her very C's, her U's and her T's ; and thus makes she her great P's. It is, in contempt of question, her hand. 81 Sir And. Her C's, her U's and her T's : why that? Mai. [Reads] ' To the unknown beloved, this, and my good wishes': — her very phrases! By your leave, wax. Soft! and the impressure her Lucrece, with which she uses to seal: 't is my lady. To whom should this be? Fab. This wins him, liver and all. Mai. [Reads] Jove knows I love : But who? Lips, do not move ; 90 No man must know. ' No man must know.' What follows? the numbers altered'. ' No man must know ' : if this should be thee, Malvolio ? Sir To. Marry, hang thee, brock! Scenes] TWELFTH NIGHT. 53 Mai. [Reads] I may command where I adore ; But silence, like a Lucrece knife, With bloodless stroke my heart doth gore: M, O, A, I, doth sway my life. Fab. A fustian riddle ! ioo Sir To. Excellent wench, say I. Mai. w M, O, A, I, doth sway my life.' Nay, but first, let me see, let me see, let me see. Fab. What dish o' poison has she dressed him ! Sir To. And with what wing the staniel checks at it ! Mai. ' 1 may command where I adore.5 Why, she may command me : I serve her ; she is my lady. Why, this is evident to any formal capacity; there is no obstruction in this : and the end, — what should that alphabetical position portend? If I could make that resemble something in me, — Softly'. M, O, A, I— in Sir To. O, ay, make up that ; he is now at a cold scent. Fab. Sowter will cry upon't for all this, though it be as rank as a fox. Mai. M, — Malvolio ; M, — why, that begins my name. Fab. Did not I say he would work it out? the cur is ex- cellent at faults. Mai. M, — but then there is no consonancy in the sequel ; that suffers under probation : A should follow, but O does. Fab. And O shall end, I hope. 120 Sir To. Ay, or 1 :11 cudgel him, and make him cry O ! Mai. And then I comes behind. Fab. Ay, an you had any eye behind you, you might see more detraction at your heels than fortunes before you. Mai. M, O, A, I; this simulation is not as the former: and yet, to crush this a little, it would bow to me, for every one of these letters are in my name. Soft ! here follows prose. [Reads] ' If this fall into thy hand, revolve. In my stars I am above thee ; but be not afraid of greatness : some are born great, some achieve greatness and some have greatness thrust upon 'em. Thy Fates open their hands ; let thy blood and spirit embrace them ; and, to inure thyself to what thou art like to be, cast thy humble slough and appear fresh. Be opposite with a kinsman, surly with servants ; let thy tongue tang arguments of state ; put thyself into the trick of singu- larity: she thus advises thee that sighs for thee. Remember who commended thy yellow stockings, and wished to see thee ever cross-gartered : I say, remember. Go to, thou art 54 TWELFTH NIGHT. [Act II. made, if thou desirest to be so ; if not, let me see thee a steward still, the fellow of sen-ants, and not worthy to touch Fortune's fingers. Farewell. She that would alter services with thee. The Fortunate Unhappy.' 142 Daylight and champain discovers not more: this is open. I will be proud. I will read politic authors. I will baffle Sir Toby. I will wash off gross acquaintance. I will be point- devise the very man. I do not now fool myself, to let imagi- nation jade me ; for even- reason excites to this, that my lady loves me. She did commend my yellow stockings of late, she did praise my leg beingr cross-gartered : and in this she manifests herself to my love, and with a kind of injunction drives me to these habits of her liking. I thank my stars I am happy. I will be strange, stout, in yellow stockings, and cross-gartered, even with the swiftness of putting on. Jove and my stars be praised ! Here is yet a postscript. 154 [Reads] 'Thou canst not choose but know who I am. If thou entertainest my love, let it appear in thy smiling : thy smiles become thee well : therefore in my presence still smile, dear my sweet, I prithee/ Jove. I thank thee: I will smile: I will do everything that thou wilt have me. {Exit. Fab. I will not give my part of this sport for a pension of thousands to be paid from the Sophy. 162 Sir To. I could mam- this wench for this device. Sir And. So could I too. Sir To. And ask no other dowry with her but such another jest. Sir And. Nor I neither. Fab. Here comes my noble gull-catcher. Re-enter Maria. Sir To. Wilt thou set thy foot o* my neck? Sir And. Or o; mine either? 170 Sir To. Shall I play my freedom at tray-trip, and become thy bond-slave ? Sir And. V faith, or I either? Sir To. Why, thou hast put him in such a dream, that when the image of it leaves him he must run mad. Mar. If you will then see the fruits of the sport, mark his first approach before my lady : he will come to her in yellow stockings, and ;t is a colour she abhors, and cross-gartered, a fashion she detests ; and he will smile upon her. which will now be so unsuitable to her disposition, being addicted to a Scene 5.] TWELFTH NIGHT. 55 melancholy as she is, that it cannot but turn him into a notable contempt. If you will see it, follow me. 182 Sir To. To the gates of Tartar, thou most excellent devil of wit : Sir And. I '11 make one too. [Exeunt. ACT III. Scene I. Olivia's garden. Enter Viola, and Clown with a tabor. Vio. Save thee, friend, and thy music: dost thou live by thy tabor? Clo. No, sir, I live by the church. Vio. Art thou a churchman? Clo. No such matter, sir : I do live by the church ; for I do live at my house, and my house doth stand by the church. Vio. So thou mayst say, the king lies by a beggar, if a beggar dwells near him ; or, the church stands by thy tabor, if thy tabor stand by the church. 10 Clo. You have said, sir. To see this age ! A sentence is but a cheveril glove to a good wit : how quickly the wrong- side may be turned outward ! Vio. Nay, that's certain; they that dally nicely with words may quickly make them wanton. Clo. Indeed words are very rascals since bonds disgraced them. Vio. Thy reason, man ? Clo. Troth, sir, I can yield you none without words ; and words are grown so false, I am loath to prove reason with them. 2 1 Vio. I warrant thou art a merry fellow and carest for nothing. Clo. Not so, sir, I do care for something; but in my con- science, sir, I do not care for you: if that be to care for nothing, sir, I would it would make you invisible. Vio. Art not thou the Lady Olivia's fool? Clo. No, indeed, sir; the Lady Olivia has no folly: she will keep no fool, sir, till she be married ; and fools are as like husbands as pilchards__are_lo_ -herrings ; the husband's the bigger: I am indeed not her fool, but her corrupter of words. 32 56 TWELFTH NIGHT. [Act III. Vio. I saw thee late at the Count Orsino*s. Clo. Foolery, sir, does walk about the orb like the sun, it shines every where. I would be sorry, sir. but the fool should be as oft with your master as with my mistress: I think I saw your wisdom there. Vio. Nay, an thou pass upon me, I'll no more with thee. Hold, there's expenses for thee. Clo. Now Jove, in his next commodity of hair, send thee a beard! ■ 41 J 7o. By my troth, I '11 tell thee, I am almost sick for one ; [Aside] though I would not have it grow on my chin. Is thy lady within? Clo. My lady is within, sir. I will construe to them whence you come ; who you are and what you would are out of my welkin, I might say 'element', but the word is over- worn. {Exit. Vio. This fellow is wise enough to play the fool; And to do that well craves a kind of wit : 50 He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before' his eye. This is a practice As full of labour as a wise man's art : For folly that he wisely shows is fit ; But wise men, folly-fall'n, quite taint their wit. Enter Sir Tobv, and Sir Andrew. Sir To. Save you, gentleman. Vio. And you, sir. Sir And. Dieu vous garde, monsieur. 60 Vio. Et vous aussi ; votre serviteur. Sir And. I hope, sir, you are ; and I am yours. Sir To. Will you encounter the house ; my niece is de- sirous you should enter, if your trade be to her. Vio. I am bound to your niece, sir; I mean, she is the list of my voyage. Sir To. Taste your legs, sir ; put them to motion. Vio. My legs do better understand me, sir, than I under- stand what you mean by bidding me taste my legs. Sir To. I mean, to go, sir, to enter. 7° Vio. I will answer you with gait and entrance. But we are prevented. Enter Olivia and Maria. Most excellent accomplished lady, the heavens rain odours on you ! Scene i.] TWELFTH NIGHT. "7 Sir And. That youth's a rare courtier: ' Rain odours'; well. Vio. My matter hath no voice, lady, but to your own most pregnant and vouchsafed ear. Sir And. 'Odours', 'pregnant' and 'vouchsafed': I'll get em all three all ready. 80 Oli. Let the garden door be shut, and leave me to my hearing. {Exeunt Sir Toby, Sir Andrew, and Maria.] Give me your hand, sir. Vio. My duty, madam, and most humble service. Oli. What is your name? Vio. Cesario is your servant's name, fair princess. Oli. My servant, sir! 'T was never merry world Since lowly feigning was called compliment : You 're servant to the Count Orsino, youth. Vio. And he is yours, and his must needs be yours: 90 Your servant's servant is your servant, madam. Oli. For him, I think not on him: for his thoughts, Would they were blanks, rather than fill'd with me ! Vio. Madam, I come to whet your gentle thoughts On his behalf. Oli. O, by your leave, I pray you, I bade you never speak again of him : But, would you undertake another suit, I had rather hear you to solicit that Than music from the spheres. Vio. Dear lady. — Oli. Give me leave, beseech you. I did send, 100 After the last enchantment you did here, A ring in chase of you : so did I abuse Myself, my servant and, I fear me, you : Under your hard construction must I sit, To force that on you, in a shameful cunning, Which you knew none of yours : what might you think? Have you not set mine honour at the stake And baited it with all the unmuzzled thoughts That tyrannous heart can think? To one of your receiving Enough is shown : a cypress, not a bosom, 1 10 Hideth my heart. So, let me hear you speak. / rio. I pity you. Oli. That 's a degree to love. Vio. Xo, not a grize ; for 't is a vulgar proof, That very oft we pity enemies. Oli. Why, then, methinks 't is time to smile again. O world, how apt the poor are to be proud ! 58 TWELFTH NIGHT. LAct III. If one should be a prey, how much the better To fall before the lion than the wolf! {Clock strikes. The clock upbraids me with the waste of time. Be not afraid, good youth. I will not have you : 120 And yet. when wit and youth is come to harvest, Your wife is like to reap a proper man : There lies your way, due west. Vio. Then west ward-ho 1 Grace and good disposition Attend your ladyship ! You'll nothing, madam, to my lord by me? OIL Stay: I prithee, tell me what thou think*st of me. ^-Vio. That you do think you are not what you are. OH. If I think so, 1 think the same of you. 130 _ Vio. Then think you right : I am not what I am. OH. I would you were as I would have you be ! Vio. Would it be better, madam, than I am? I wish it might, for now I am your fool. OH. O, what a deal of scorn looks beautiful In the contempt and anger of his lip! A murderous guilt shows not itself more soon Than love that would seem hid: love's night is noon. Cesario, by the roses of the spring, By maidhood, honour, truth and even-thing, 140 I love thee so, that, maugre all thy pride. Nor wit nor reason can my passion hide. Do not extort thy reasons from this clause. For that I woo, thou therefore hast no cause ; But rather reason thus with reason fetter. Love sought is good, but given unsought is better. Vio. By innocence I swear, and by my youth, I have one heart, one bosom and one truth, And that no woman has ; nor never none Shall mistress be of it, save I alone. 150 And so adieu, good madam : nevermore Will I my master's tears to you deplore. Oli. Yet come again ; for thou perhaps mayst move That heart, which now abhors, to like his love. {Exeunt. Scene II. A rooni in Olivia's house. Enter Sir Toby, Sir Andrew, and Fabian. Sir And. No, faith, I '11 not stay a jot longer. Sir To. Thy reason, dear venom, give thy reason. Scene 2.] TWELFTH NIGHT. 59 Fab. You must needs yield your reason, Sir Andrew. Sir And. Marry, I saw your niece do more favours to the count's serving-man than ever she bestowed upon me ; ! saw 't i' the orchard. Sir To. Did she see thee the while, old boy? tell me that. Sir And. As plain as I see you now. Fab. This was a great argument of love in her toward you. Sir And. \S light, will you make an ass o' me? 10 Fab. I will prove it legitimate, sir, upon the oaths of judge- ment and reason. Sir To. And they have been grand-jurymen since before Xoah was a sailor. Fab. She did show favour to the youth in your sight only to exasperate you, to awake your dormouse valour, to put tire in your heart, and brimstone in your liver. You should then have accosted her ; and with some excellent jests, fire-new from the mint, you should have banged the youth into dumb- ness. This was looked for at your hand, and this was balked : the double gilt of this opportunity you let time wash off, and you are now sailed into the north of my lady's opinion ; where you will hang like an icicle on a Dutchman's beard, unless you do redeem it by some laudable attempt either of valour or policy. 25 Sir And. An 't be any way, it must be with valour; for policy I hate : I had as lief be a Brownist as a politician. Sir To. Why, then, build me thy fortunes upon the basis of valour. Challenge me the count's youth to tight with him ; hurt him in eleven places : my niece shall take note of it ; and assure thyself, there is no love-broker in the world can more prevail in man's commendation with woman than re- port of valour. $3 Fab. There is no way but this, Sir Andrew. Sir And. Will either of you bear me a challenge to him? Sir To. Go, write it in a martial hand; be curst and brief; it is no matter how witty, so it be eloquent and full of in- vention : taunt him with the license of ink : if thou thou'st him some thrice, it shall not be amiss : and as many lies as will lie in thy sheet of paper, although the sheet were big enough for the bed of Ware in England, set 'em down : go, about it. Let there be gall enough in thy ink, though thou write with a goose-pen, no matter: about it. 43 Sir And. Where shall I find you? Sir To. We 11 call thee at the cubiculo : go. [Exit Sir Andrei,.'. Fab. This is a dear manakin to you, Sir Toby. 60 TWELFTH NIGHT. [Act III. Sir To. I have been dear to him, lad, some two thousand strong, or so. Fab. We shall have a rare letter from him : but you ;11 not deliver 't? 50 Sir To. Never trust me, then ; and by all means stir on the youth to an answer. I think oxen and wainropes cannot hale them together. For Andrew, if he were opened, and you find so much blood in his liver as will clog the foot of a flea, I '11 eat the rest of the anatomy. Fab. And his opposite, the youth, bears in his visage no great presage of cruelty. Enter Maria. Sir To. Look, where the youngest wren of nine comes. Mar. If you desire the spleen, and will laugh yourselves into stitches, follow me. Vond gull Malvolio is turned heathen, a very renegado ; for there is no Christian, that means to be saved by believing rightly, can ever believe such impossible passages of grossness. He's in yellow stockings. Sir To. And cross-gartered? 64 Mar. Most villanously; like a pedant that keeps a school i' the church. I have dogged him, like his murderer. He does obey every point of the letter that I dropped to betray him : he does smile his face into more lines than is in the new map with the augmentation of the Indies : you have not seen such a thing as ;t is. I can hardly forbear hurling things at him. I know my lady will str" smile and take 't for a great favour. Sir To. Come, bring us, bring us where he is. [Exeunt. Scene III. A street. Ejiter Sebastian and Antonio. Seb. I would not by my will have troubled you ; But, since you make your pleasure of your pains, I will no further chide you. Ant. I could not stay behind you: my desire, More sharp than filed steel, did spur me forth ; And not all love to see you, though so much As might have drawn one to a longer voyage, But jealousy what might befall your travel, Being skilless in these parts ; which to a stranger, L nguided and unfriended, often prove Rough and unhospitable : my willing love, Scenes-] TWELFTH NIGHT. Gl The rather by these arguments of fear, Set forth in your pursuit. Seb. My kind Antonio, I can no other answer make but thanks, And thanks, and ever thanks. Too oft good turns Are shuffled off with such uncurrent pay : But, were my worth as is my conscience firm, You should find better dealing. What's to do? Shall we go see the reliques of this town? Ant. To-morrow, sir: best first go see your lodging. 20 Seb. I am not weary, and 't is long to night : I pray you, let us satisfy our eyes With the memorials and the things of fame That do renown this city. Ant. Would you 'Id pardon me ; I do not without danger walk these streets : Once, in a sea-fight, 'gainst the count his galleys I did some service ; of such note indeed, That were I ta'en here it would scarce be answer'd. Seb. Belike you slew great number of his people. Ant. The offence is not of such a bloody nature ; 30 Albeit the quality of the time and quarrel Might well have given us bloody argument. It might have since been answer'd in repaying What we took from them ; which, for traffic's sake, Most of our city did : only myself stood out ; For which, if I be lapsed in this place, I shall pay dear. Seb. Do not then walk too open. Ant. It doth not fit me. Hold, sir, here's my purse. In the south suburbs, at the Elephant, Is best to lodge : I will bespeak our diet, 40 Whiles you beguile the time and feed your knowledge With viewing of the town : there shall you have me. Seb. Why I your purse? Ant. Haply your eye shall light upon some toy You have desire to purchase ; and your store, I think, is not for idle markets, sir. Seb. I '11 be your purse-bearer and leave you For an hour. Ant. To the Elephant. Seb. I do remember. [Exeunt. 62 TWELFTH NIGHT [Act III. Scene IV. Olivia's garden. Enter Olivia and Maria. OIL I have sent after him : he says he '11 come ; How shall I feast him? what bestow of him? For youth is bought more oft than begg'd or borrow d. I speak too loud. Where is Malvolio? he is sad and civil, And suits well for a servant with my fortunes: Where is Malvolio? Mar. He's coming, madam; but in very strange manner. He is, sure, possessed, madam. OIL Why, what's the matter? does he rave? jo Mar. Xo, madam, he does nothing but smile: your lady- ship were best to have some guard about you, if he come ; for, sure, the man is tainted in 's wits. OIL Go call him hither. [Exit Maria.'] I am as mad as he, If sad and merry madness equal be. Re-enter Maria, with Malvolio. How now, Malvolio! Mai. Sweet lady, ho, ho. OIL Smilest thou? I sent for thee upon a sad occasion. Mai. Sad, lady ! I could be sad ; this does make some obstruction in the blood, this cross-gartering; but what of that? if it please the eye of one, it is with me as the very true sonnet is, ' Please one, and please all '. 23 OIL Why, how dost thou, man? what is the matter with thee? Mai. Not black in my mind, though yellow in my legs. It did come to his hands, and commands shall be executed : I think we do know the sweet Roman hand. OIL Wilt thou go to bed, Malvolio? Mai. To bed ! ay, sweet heart. 30 OIL God comfort thee ! Why dost thou smile so and kiss thy hand so oft? Mar. How do you, Malvolio? Mai. At your request ! yes ; nightingales answer daws. Mar. Why appear you with this ridiculous boldness before my lady? Mai. ' Be not afraid of greatness : ;t was well writ. 37 OIL What meanest thou by that, Malvolio? Mai. ' Some are born great,' — Scene 4.] TWELFTH NIGHT. 63 Oli. Ha! 40 Mai. ' Some achieve greatness,' — i Hi. What sayest thou ? Mai. ' And some have greatness thrust upon them. Oli. Heaven restore thee ! Mai. * Remember who commended thy yellow stockings,' — Oli. Thy yellow stockings! Mai. 'And wished to see thee cross-gartered.' Oli. Cross-gartered ! Mai. ' Go 10, thou art made, if thou desirest to be so"; — Oli. Am I made? 50 Mai. • If not, let me see thee a servant still.' Oli. Why, this is very midsummer madness. Enter Servant. Ser. Madam, the young gentleman of the Count Orsino's is returned: I could hardly entreat him back: he attends your ladyship's pleasure. v Oli. I '11 come to him. [Exit Servant.'] Good Maria, let this fellow be looked to. Where's my cousin Toby? Let some of my people have a special care of him : I would not have him miscarry for the half of my dowry. 59 [Exeunt Olivia and Maria. Mai. O, ho! do you come near me now? no worse man than Sir Toby to look to me 1 This concurs directly with the letter : she sends him on purpose, that I may appear stubborn to him ; for she incites me to that in the letter. ' Cast thy humble slough,' says she ; k be opposite with a kinsman, surly with servants ; let thy tongue tang with arguments of state ; put thyself into the trick of singularity'; and consequently sets down the manner how ; as, a sad face, a reverend carriage, a slow tongue, in the habit of some sir of note, and so forth. I have limed her; but it is Jove's doing, and Jove make me thankful ! And when she went away now, ' Let this fellow be looked to': fellow! not Malvolio, nor after my degree, but fellow. Why, every thing adheres together, that no dram of a scruple, no scruple of a scruple, no obstacle, no incredulous or unsafe circumstance — What can be said? Nothing that can be can come between me and the full prospect of my hopes. Well, Jove, not I, is the doer of this, and he is to be thanked. 77 Re-enter Maria, with Sir Toby and Fabian. Sir To. Which way is he, in the name of sanctity? If all the devils of hell be drawn in little, and Legion himself pos- sessed him, yet 1 11 speak to him. 80 64 TWELFTH NIGHT. [Act III. Fab. Here he is, here he is. How is ;t with you, sir? ho is't with you, man? Mai. Go on: I discard you: let me enjoy my private: go off. Mar. Lo, how hollow the fiend speaks within him! Did not I tell you? Sir Toby, my lady prays you to have a care of him. Mai. Ah. ha', does she so? Sir To. Go to, go to: peace, peace; we must deal gently with him: let me alone. How do you, Malvolio? how is "t with you? What, man! defy the devil: consider, he's an enemy to mankind. 92 Mai. Do you know what you say? Mar. La you. an you speak ill of the devil, how he takes ir at heart ! Pray God, he be not bewitched ! My lady woulc not lose him for more than I 11 say. Mai. How now, mistress ! Mar. O Lord ! Sir To. Prithee, hold thy peace ; this is not the way : do you not see you move him? let me alone with him. 100 Fab. Xo way but gentleness ; gently, gently : the fiend is rough, and will not be roughly used. Sir To. Why. how now, my bawcock ! how dost thou, chuck ? Mai. Sir'. Sir To. Ay, Biddy, come with me. \\ nat, man ! "t is not for gravity to play at cherry-pit with Satan : hang him, foul collier ! Mar. Get him to say his prayers, good Sir Toby, get him to pray. 1 10 Mai. My prayers, minx! Mar. Xo. I warrant you, he will not hear of godliness. Mai. Go, hang yourselves all! you are idle shallow things: I am not of vour element : vou shall know more hereafter. [Exit. Sir To. Is*t possible? Fab. If this were played upon a stage now, I could con- demn it as an improbable fiction. Sir To. His very genius hath taken the infection of the device, man. Mar. Nay, pursue him now. lest the device take air and taint. i-i Fab. Why. we shall make him mad indeed. Mar. The house will be the quieter. Sir To. Come, we '11 have him in a dark room and bound. Scene 4.j TWELFTH NIGHT. 65 iece is already in the belief that he's mad: we may irry it thus, for our pleasure and his penance, till our very pastime, tired out of breath, prompt us to have mercy on him: at which time we will briny the device to the bar and crown thee for a finder of madmen. But see, but see. Enter Sir Andrew. Fab. More matter for a May morning. 130 Sir And. Here's the challenge, read it: I warrant there's vinegar and pepper in 't. . Fab. Is't so saucy? Sir And. Ay, is't, I warrant him: do but read. Sir To. Give me. [Reads] ' Youth, whatsoever thou art, 011 art but a scurvy fellow.' Fab. Good, and valiant. Sir To. [Reads] ' Wonder not, nor admire not in thy mind, \ ly I do call thee so, for I will show thee no reason for't.' Fab. A good note ; that keeps you from the blow of the 141 Sir To. [Reads] ' Thou comest to the lady Olivia, and in ght she uses thee kindly : but thou liest in thy throat : ;s not the matter I challenge thee for.' Fab. Very brief, and to exceeding good sense — less. Sir To. [Reads] ' I will waylay thee going home ; where if it be thy chance to kill me,' — Fab. Good. Sir To. [Reads] ' Thou killest me like a rogue and a villain.' 150 Fab. Still you keep o' the windy side of the law : good. Sir To. [Reads] ' Fare thee well ; and God have mercy >n one of our souls ! He may have mercy upon mine ; but my hope is better, and so look to thyself. Thy friend, as if u usest him, and thy sworn enemy, ANDREW AGUE- CHEEK.' If this letter move him not, his legs cannot; I'll give 't him. 157 Mar. You may have very fit occasion for ;t : he is now in e commerce with my lady, and will by and by depart. a'r To. Go, Sir Andrew ; scout me for him at the corner of the orchard like a bum-baily : so soon as ever thou seest him, draw; and, as thou drawest, swear horrible ; for it comes to pass oft that a terrible oath, with a swaggering accent arply twanged off, gives manhood more approbation than !" proof itself would have earned him. Away! 165 » And. Nay, let me alone for swearing. [Exit. 'ir To. Now will not I deliver his letter: for the behaviour (M38) E 66 TWELFTH NIGHT, [Act III. of the young gentleman gives him out to be of good capacity and breeding ; his employment between his lord and my niece confirms no less: therefore this letter, being so excel- lently ignorant, will breed no terror in the youth : he will find it comes from a clodpole. But, sir, I will deliver his chal- lenge by word of mouth ; set upon Aguecheek a notable report of valour; and drive the gentleman, as I know his youth will aptly receive it. into a most hideous opinion of his rage, skill, fury and impetuosity. This will so fright them both that they will kill one another by the look, like cocka- trices. 178 . Re-enter Olivia iuith Viola. Fab. Here he comes with your niece : give them way till he take leave, and presently after him. 180 Sir To. I will meditate the while upon some horrid message for a challenge. \Exeunt Sir Toby, Fabian, and Maria. O/i. I have said too much unto a heart of stone, And laid mine honour too unchary out : There 's something in me that reproves my fault ; But such a headstrong potent fault it is. That it but mocks reproof. Vio. With the same 'haviour that your passion bears Goes on my master's grief. Oli. Here, wear this jewel for me. 't is my picture ; 190 Refuse it not ; it hath no tongue to vex you ; And I beseech you come again to-morrow. What shall you ask of me that I '11 deny. That honour saved may upon asking give? Vio. Nothing but this ; your true love for my master. Oli. How with mine honour may I give him that Which I have given to you? Jlo. I will acquit you. Oli. Well, come again to-morrow : fare thee well : A fiend like thee might bear my soul to hell. \_Exit. Re-enter Sir Toby and Fabian. Sir To. Gentleman, God save thee. 200 Vio. And you, sir. Sir To. That defence thou hast, betake thee to ;t : of what nature the wrongs are thou hast done him, I know not : but thy intercepted full of despite, bloody as the hunter, attends thee at the orchard-end : dismount thy tuck, be yare in thy preparation, for thy assailant is quick, skilful and deadly. Scene 4-] TWELFTH NIGHT. »J7 Vio. You mistake, sir; I am sure no man hath any quarrel to me : my remembrance is very free and clear from any image of offence clone to any man. Sir To. You'll find it otherwise, I assure you: therefore, if you hold your life at any price, betake you to your guard ; for your opposite hath in him what youth, strength, skill and wrath can furnish man withal. 213 Vio. I pray you, sir, what is he? Sir To. He is knight, dubbed with unhatched rapier and on carpet consideration ; but he is a devil in private brawl : souls and bodies hath he divorced three ; and his incense- ment at this moment is so implacable, that satisfaction can be none but by pangs of death and sepulchre. Hob, nob, is his word; give 't or take't. 220 / ':o. I will return again into the house and desire some conduct of the lady. I am no fighter. I have heard of some kind of men that put quarrels purposely on others, to taste their valour : belike this is a man of that quirk. Sir To. Sir, no; his indignation derives itself out of a very competent injury : therefore, get you on and give him his desire. Back you shall not to the house, unless you undertake that with me which with as much safety you might answer him : therefore, on, or strip your sword stark naked ; for meddle you must, that 's certain, or forswear to wear iron about you. 231 Vio. This is as uncivil as strange. I beseech you, do me this courteous office, as to know of the knight what my offence to him is : it is something of my negligence, nothing of my purpose. Sir To. I will do so. Signor Fabian, stay you by this gentleman till my return. \Exit. Vio. Pray you, sir, do you know of this matter? Fab. I know the knight is incensed against you, even to a mortal arbitrement ; but nothing of the circumstance more. Vio. I beseech you, what manner of man is he? 241 Fab. Nothing of that wonderful promise, to read him by his form, as you are like to find him in the proof of his valour. He is, indeed, sir, the most skilful, bloody and fatal opposite that you could possibly have found in any part of Illyria. Will you walk towards him? I will make your peace with him if I can. Vio. I shall be much bound to you for't: I am one that had rather go with sir priest than sir knight : I care not who knows so much of my mettle. [Exeunt. 250 68 TWELFTH NIGHT. [Act III. Re-enter Sir Toby, with Sir Andrew. Sir To Why. man. he's a very devil; I have not seen such a firago. I had a pass with him, rapier, scabbard and all, and he gives me the stuck in with such a mortal motion, that it is inevitable ; and on the answer, he pays you as surely as your feet hit the ground they step on. They say he has been fencer to the Sophy. Sir And. Plague on't. 1 '11 not meddle with him. Sir To. Ay, but he will not now be pacified : Fabian can scarce hold him yonder. 259 Sir A)id. Plague on % an I thought he had been valiant and so cunning in fence, I "Id have seen him damned ere I 'Id have challenged him. Let him let the matter slip, and I '11 give him my horse, grey Capilet. Sir To. I '11 make the motion : stand here, make a good show on :t : this shall end without the perdition of souls. [Aside] .Marry. I '11 ride your horse as well as I ride you. Re-enter Fabian and Viola. [To Tad.] I have his horse to take up the quarrel: I have persuaded him the youth 's a devil. Fab. He is as horribly conceited of him : and pants and looks pale, as if a bear were at his heels. 270 Sir To. [To Vio.] There's no remedy, sir; he will fight with you for's oath sake: marry, he hath better bethought him of his quarrel, and he finds that now scarce to be worth talking of: therefore draw, for the supportance of his vow; he protests he will not hurt you. Vio. [aside] Pray God defend me! A little thing would make me tell them how much I lack of a man. Fab. Give ground, if you see him furious. Sir To. Come, Sir Andrew, there ;s no remedy ; the gentle- man will, for his honours sake, have one bout with you : he cannot by the duello avoid it : but he has promised me. as he is a gentleman and a soldier, he will not hurt you. Come on; to;t. 283 Sir And. Pray God, he keep his oath ! Vio. I do assure you, 'tis against my will. [They draw. Enter ANTONIO. Ant. Put up your sword. If this young gentleman Have done offence, I take the fault on me ; If you offend him, I for him defy you. Sir To. You, sir! why, what are your Scene 4.] TWELFTH NIGHT. GO A?it. One, sir, that for his love dares yet do more 290 Than you have heard him brag to you he will. Sir To. Nay, if you be an undertaker, I am for you. [1 hey draiv. Enter Officers. Fab. O good Sir Toby, hold ! here come the officers. Sir To. I '11 be with you anon. Vio. Pray, sir, put your sword up, if you please. Sir And. Marry, will I, sir; and, for that I promised you, I '11 be as good as mv word : he will bear vou easilv and reins well. First Off This is the man ; do thy office. Sec. Off. Antonio, I arrest thee at the suit of Count Orsino. 301 Ant. You do mistake me, sir. First Off. Xo, sir, no jot ; I know your favour well, Though now you have no sea-cap on your head. Take him away : he knows I know him well. Ant. I must obey. [To Vio.} This comes with seeking you : But there's no remedy; I shall answer it. What will you do, now my necessity Makes me to ask you for my purse? It grieves me Much more for what I cannot do for you 310 Than what befalls myself. You stand amazed ; But be of comfort. Sec. Off. Come, sir, away. Ant. I must entreat of you some of that money. Vto. What money, sir? For the fair kindness you have show'd me here. And, part, being prompted by your present trouble, Out of my lean and low ability I '11 lend you something: my having is not much; I '11 make division of my present with you: 320 Hold, there 's half my coffer. Ant. Will you deny me now? Is't possible that my deserts to you Can lack persuasion? Do not tempt my misery, Lest that it make me so unsound a man As to upbraid you with those kindnesses That I have done for you. Vie. I know of none ; Xor know I you by voice or any feature: I hate ingratitude more in a man 70 TWELFTH NIGHT. [Act III. Sc. 4. Than lying, vainness, babbling, drunkenness, Or any taint of vice whose strong corruption 330 Inhabits our frail blood. Ant. O heavens themselves ! Sec. Off. Come, sir. I pray you, go. Ant. Let me speak a little. This youth that you see here I snatch' d one half out of the jaws of death. Relieved him with such sanctity of love, And to his image, which methought did promise Most venerable worth, did I devotion. First Off. What's that to us? The time goes by: away ! Ant. But O how vile an idol proves this god ! Thou hast, Sebastian, done good feature shame. 340 In nature there's no blemish but the mind: None can be call'd deform'd but the unkind: Virtue is beauty, but the beauteous evil Are empty trunks o'erfiourish'd by the devil. First Off. The man grows mad: away with him! Come, come, sir. Ant. Lead me on. [Exit with Officers. Via. Methinks his words do from such passion fly, That he believes himself: so do not I. Prove true, imagination, O, prove true, That I, dear brother, be now ta'en for you ! 350 Sir To. Come hither, knight; come hither, Fabian: we'll whisper o'er a couplet or two of most sage saws. Vio. He named Sebastian: I my brother know Yet living in my glass; even such and so In favour was my brother, and he went Still in this fashion, colour, ornament, For him I imitate: O. if it prove. Tempests are kind and salt waves fresh in love. [Exit. Sir To. A very dishonest paltry boy, and more a coward than a hare: his dishonesty appears in leaving his friend here in necessity and denying him; and for his cowardship, ask Fabian. 362 Fab. A coward, a most devout coward, religious in it. Sir And. I '11 after him again and beat him. Sir To. Do; cuff him soundly, but never draw thy sword. Sir And. An I do not, — [Exit. Fab. Come, let's see the event. Sir To. I dare lay any money 'twill be nothing yet. [Exeunt. Act IV, Sc. i.] TWELFTH NIGHT. 71 ACT IV. Scene I. Before Olivia's house. Enter Sebastian and Clown. Clo. Will you make me believe that I am not sent for you? Seb. Go to, go to, thou art a foolish fellow : Let me be clear of thee. Clo. Well held out, i' faith ! No, I do not know you ; nor I am not sent 10 you by my lady, to bid you come speak with her; nor your name is not Master Cesario ; nor this is not my nose neither. Nothing that is so is so. Seb. I prithee, vent thy folly somewhere else : Thou know'st not me. 9 Clo. Vent my folly ! he has heard that word of some great man and now applies it to a fool. Vent my folly ! I am afraid this great lubber, the world, will prove a cockney. I prithee now, ungird thy strangeness and tell me what I shall vent to my lady: shall I vent to her that thou art coming? Seb. I prithee, foolish Greek, depart from me : There 's money for thee : if you tarry longer, I shall give worse payment. Clo. By my troth, thou hast an open hand. These wise men that give fools money get themselves a good report — after fourteen years' purchase. 20 Enter Sir Andrew, Sir Toby, and Fabian. Sir And. Now, sir, have I met you again? there's for you. Seb. Why, there 's for thee, and there, and there. Are all the people mad? Sir To. Hold, sir, or I '11 throw your dagger o'er the house. Clo. This will I tell my lady straight : I would not be in some of your coats for two pence. [Exit. Sir To. Come on, sir; hold. Sir And. Nay, let him alone : I '11 go another way to work with him ; I '11 have an action of battery against him, if there be any law in Illyria: though I struck him first, yet it's no matter for that. 31 Seb. Let go thy hand. Sir To. Come, sir, I will not let you go. Come, my young soldier, put up your iron : you are well fleshed ; come on. Seb. I will be free from thee. What wouldst thou now? If thou darest tempt me further, draw thy sword. Sir To. What, what? Nay, then I must have an ounce or two of this malapert blood from you. 72 TWELFTH NIGHT. [Act IV. Enter Olivia. OH. Hold, Toby ; on thy life I charge thee, hold ! Sir To. Madam ! 40 OH. Will it be ever thus? Ungracious wretch, Fit for the mountains and the barbarous caves, Where manners ne'er were preach' d ! out of my sight ! Be not offended, dear Cesario. Rudesby, be gone ! {Exeunt Sir Toby, Sir Andrew \ and Fabian. I prithee, gentle friend, Let thy fair wisdom, not thy passion, sway In this uncivil and unjust extent Against thy peace. Go with me to my house, And hear thou there how many fruitless pranks This ruffian hath botch'd up, that thou thereby 50 Mayst smile at this : thou shalt not choose but go: Do not deny. Beshrew his soul for me, He started one poor heart of mine in thee. Seb. WTiat relish is in this? how runs the stream? Or I am mad, or else this is a dream : Let fancy still my sense in Lethe steep ; If it be thus to dream, still let me sleep ! OH. Nay, come, I prithee: would thou 'ldst be ruled by me ! Seb. Madam. I will. OH. O, say so, and so be ! {Exeunt. Scene II. Olivia's house. Enter Maria and Clown: Mar. Nay, I prithee, put on this gown and this beard ; make him believe thou art Sir Topas the curate : do it quickly; I !11 call Sir Toby the whilst. {Exit. Clo. Well, I ;11 put it on, and I will dissemble myself in 't : and would I were the first that ever dissembled in such a gown. I am not tall enough to become the function well, nor lean enough to be thought a good student ; but to be said an honest man and a good housekeeper goes as fairly as to say a careful man and a great scholar. The competitors enter. 10 Enter Sir Toby and Maria. Sir To. Jove bless thee, master Parson. Clo. Bonos dies, Sir Toby: for, as the old hermit of Prague, that never saw pen and ink, very wittily said to a Scene 2.] TWELFTH NIGHT. /3 niece of King Gorboduc, 'That that is is': so I, being master Parson, am master Parson; for, what is 'that' but 'that', and 'is' but 'is'? Sir To. To him, Sir Topas. Clo. What, ho, I say ! peace in this prison ! Sir To. The knave counterfeits well ; a good knave. Mai. \Witkin\ Who calls there? 20 Clo. Sir Topas the curate, who comes to visit Malvolio the lunatic. Mai. Sir Topas, Sir Topas, good Sir Topas, go to my lady. Clo. Out, hyperbolical fiend ! how vexest thou this man ! talkest thou nothing but of ladies? Sir To. Well said, master Parson. Mai. Sir Topas, never was man thus wronged : good Sir Topas, do not think I am mad : they have laid me here in hideous darkness. 29 Clo. Fie, thou dishonest Satan ! I call thee by the most modest terms ; for I am one of those gentle ones that will use the devil himself with courtesy: sayest thou that house is dark? Mai. As hell, Sir Topas. Clo. Why, it hath bay windows transparent as barri- cadoes, and the clerestories toward the south north are as lustrous as ebony; and yet complainest thou of obstruction? Mai. I am not mad, Sir Topas : I say to you, this house is dark. 39 Clo. Madman, thou errest : I say, there is no darkness but ignorance ; in which thou art more puzzled than the Egyptians in their fog. Mai. I say, this house is dark as ignorance, though ignor- ance were as dark as hell ; and I say, there was never man thus abused. I am no more mad than you are : make the trial of it in any constant question. Clo. What is the opinion of Pvthagoras concerning wild fowl? Mai. That the soul of our grandam might haply inhabit a bird. 50 Clo. What thinkest thou of his opinion? Mai. I think nobly of the soul, and no way approve his opinion. Clo. Fare thee well. Remain thou still in darkness : thou shalt hold the opinion of Pythagoras ere I will allow of thy wits, and fear to kill a woodcock, lest thou dispossess the soul of thy grandam. Fare thee well. Mai. Sir Topas, Sir Topas ! 74 TWELFTH NIGHT. [Act IV. Sir To. My most exquisite Sir Topas ! Clo. Nay, I am for all waters. 60 Mar. Thou mightst have done this without thy beard and gown : he sees thee not. Sir To. To him in thine own voice, and bring me word hew thou fmdest him: I would we were well rid of this knavery. If he may be conveniently delivered, I would he were, for I am now so far in offence with my niece that I cannot pursue with any safety this sport to the upshot. Come by and by to my chamber. [Exeunt Sir Toby and Maria. Clo. [Singing] ' Hey, Robin, jolly Robin, Tell me how thy ladv does.' 70 Mai. Fool: Clo. ' My lady is unkind, perdv.' Mai. Fool: Clo. 'Alas, why is she so?' Mai. Fool, I say ! Clo. ' She loves another' — Who calls, ha? Mai. Good fool, as ever thou wilt deserve well at my hand, help me to a candle, and pen. ink and paper: as I am a gentleman. I will live to be thankful to thee for't. Clo. Master Malvolio? 80 Mai. Ay, good fool. Clo. Alas, sir, how fell you besides your five wits? Mai. Fool, there was never man so notoriously abused : I am as well in my wits, fool, as thou art. Clo. But as well? then you are mad indeed, if you be no better in your wits than a fool. Mai. They have here propertied me ; keep me in darkness, send ministers to me, asses, and do all they can to face me out of my wits. 89 Clo. A'dvise you what you say : the minister is here. Mal- volio. Malvolio. thy wits the heavens restore: endeavour thyself to sleep, and leave thy vain bibble babble. Mai. Sir Topas ! Clo. Maintain no words with him. good fellow. Who, I, sir? not I, sir. God be wi: you, good Sir Topas. Marry, amen. I will, sir, I will. Mai. Fool, fool, fool, I say! Clo. Alas, sir, be patient. What say you, sir? I am shent for speaking to you. 99 Mai. Good fool, help me to some light and some paper : I tell thee, I am as well in my wits as any man in Illyria. Clo. Well-a-dav that vou were, sir ! Scene 3.] TWELFTH NIGHT. 75 Mai. By this hand, I am. Good fool, some ink, paper and light ; and convey what I will set down to my lady : it shall advantage thee more than ever the bearing of letter did. Clo. I will help you to't. But tell me true, are you not mad indeed? or do you but counterfeit? Mai. Believe me, I am not ; I tell thee true. Clo. Nay, I '11 ne'er believe a madman till I see his brains. I will fetch you light and paper and ink. 1 10 Mai. Fool, I '11 requite it in the highest degree : I prithee, be gone. Clo. [Singing] I am gone, sir, And anon, sir, I '11 be with you again, In a trice, Like to the old Vice, Your need to sustain ; Who, with dagger of lath, In his rage and his wrath, 120 Cries, ah, ha ! to the devil : Like a mad lad, Pare thy nails, dad ; Adieu, good man drivel. {Exit. Scene III. Olivia's garden. Enter Sebastian. Seb. This is the air; that is the glorious sun; This pearl she gave me, I do feel 't and see 't ; And though 't is wonder that enwraps me thus, Yet 't is not madness. Where 's Antonio, then? I could not find him at the Elephant : Yet there he was ; and there I found this credit, That he did range the town to seek me out. His counsel now might do me golden service ; For though my soul disputes well with my sense, That this may be some error, but no madness, 10 Yet doth this accident and flood of fortune So far exceed all instance, all discourse, That I am ready to distrust mine eyes And wrangle with my reason that persuades me To any other trust but that I am mad Or else the lady 's mad ; yet, if 't were so, She could not sway her house, command her followers, Take and give back affairs and their dispatch 76 TWELFTH NIGHT. [Act V. With such a smooth, discreet and stable bearing As I perceives she does : there :s something in ;t 20 That is deceiveable. But here the lady comes. Enter Olivia and Priest. OH. Blame not this haste of mine. If you mean well, Now go with me and with this holy man Into the chantry by : there, before him. And underneath that consecrated roof, Plight me the full assurance of your faith ; That my most jealous and too doubtful soul May live at peace. He shall conceal it Whiles you are willing it shall come to note, What time we will our celebration keep 30 According to my birth. What do you say? Seb. I '11 follow this good man, and go with you ; And. having sworn truth, ever will be true. OH. Then lead the way, good father; and heavens so shine. That they may fairly note this act of mine ! {Exeunt ACT V. Scene I. Before Olivia's house. Enter CLOWN and FABIAN. Fab. Now, as thou lovest me. let me see his letter. Clo. Good Master Fabian, grant me another request. Fab. Any thing. Clo. Do not desire to see this letter. Fab. This is, to give a dog, and in recompense desire my dog again. Enter Duke. Viola, Curio, and Lords. Duke. Belong you to the Lady Olivia, friends? Clo. Ay, sir ; we are some of her trappings. Duke. I know thee well: how dost thou, my good fellow? Clo. Truly, sir, the better for my foes and the worse for my friends. 1 1 Duke. Just the contrary ; the better for thy friends. Clo. No. sir. the worse. Duke. How can that be? Scene i.] TWELFTH NIGHT. 77 Clo. Marry, sir, they praise me and make an ass of me ; now my foes tell me plainly 1 am an ass : so that by my foes, sir, I profit in the knowledge of myself, and by my friends I am abused : so that, conclusions to be as kisses, if your four negatives make your two affirmatives, why then, the worse for my friends and the better for my foes. 20 Duke. Why, this is excellent. Clo. By my troth, sir, no ; though it please you to be one of my friends. Duke. Thou shalt not be the worse for me : there 's gold. Clo. But that it would be double-dealing, sir, I would you could make it another. Duke. O, you give me ill counsel. Clo. Put your grace in your pocket, sir, for this once, and let your flesh and blood obey it. Duke. Well, I will be so much a sinner, to be a double- dealer: there's another. 31 Clo. Primo, secundo, tertio, is a good play ; and the old saying is, the third pays for all : the triplex, sir, is a good tripping measure ; or the bells of Saint Bennet, sir, may put you in mind ; one, two, three. Duke. You can fool no more money out of me at this throw : if you will let your lady know I am here to speak with her, and bring her along with you, it may awake my bounty further. 39 Clo. Marry, sir, lullaby to your bounty till I come again. I go, sir ; but I would not have you to think that my desire of having is the sin of covetousness : but, as you say, sir, let your bounty take a nap, I will awake it anon. {Exit. Vio. Here comes the man, sir, that did rescue me. Enter Antonio and Officers. Duke. That face of his I do remember well ; Yet, when I saw it last, it was besmear d As black as Vulcan in the smoke of war : A bawbling vessel was he captain of, For shallow draught and bulk unprizable ; With which such scathful grapple did he make 50 With the most noble bottom of our fleet, That very envy and the tongue of loss Cried fame and honour on him. What's the matter? First Off. Orsino, this is that Antonio That took the Phcenix and her fraught from Candy; And this is he that did the Tiger board, When your young nephew Titus lost his leg: 78 TWELFTH NIGHT. [Act V. Here in the streets, desperate of shame and state, In private brabble did we apprehend him. Vio. He did me kindness, sir, drew on my side ; 60 But in conclusion put strange speech upon me : I know not what 't was but distraction. Duke. Notable pirate ! thou salt-water thief ! What foolish boldness brought thee to their mercies, Whom thou, in terms so bloody and so dear, Hast made thine enemies? Ant. Orsino, noble sir, Be pleased that I shake off these names you give me Antonio never yet was thief or pirate, Though I confess, on base and ground enough, Orsino's enemy. A witchcraft drew me hither : 70 That most ingrateful boy there by your side, From the rude sea's enraged and foamy mouth Did I redeem ; a wreck past hope he was : His life I gave him and did thereto add My love, without retention or restraint, All his in dedication ; for his sake Did I expose myself, pure for his love, Into the danger of this adverse town ; Drew to defend him when he was beset : Where being apprehended, his false cunning, 80 Not meaning to partake with me in danger, Taught him to face me out of his acquaintance, And grew a twenty years removed thing While one would wink ; denied me mine own purse, Which I had recommended to his use Not half an hour before. Vio. How can this be? Duke. When came he to this town? Ant. To-day, my lord; and for three months before, No interim, not a minute's vacancy, Both day and night did we keep company. 90 Enter Olivia and Attendants. Duke. Here comes the countess : now heaven walks on earth. But for thee, fellow ; fellow, thy words are madness : Three months this youth hath tended upon me ; But more of that anon. Take him aside. Oli. What would my lord, but that he may not have, Wherein Olivia may seem serviceable ? Cesario, you do not keep promise with me. Scene i.] TWELFTH NIGHT. 79 I'io. Madam! Duke. Gracious Olivia, — Oli. What do you say, Cesario? Good my lord,— ioo Vio. My lord would speak; my duty hushes me. Oli. If it be aught to the old tune, my lord, It is as fat and fulsome to mine ear As howling after music. Duke. Still so cruel ! Oli. Still so constant, lord. Duke. What, to perverseness? you uncivil lady, To whose ingrate and unauspicious altars My soul the faithfull'st offerings hath breathed out That e'er devotion tender'd ! What shall I do ? OIL Even what it please my lord, that shall become him. Duke. Why should I not, had I the heart to do it, 1 1 1 Like to the Egyptian thief at point of death, Kill what I love? — a savage jealousy That sometime savours nobly. But hear me this: Since you to non-regardance cast my faith, And that I partly "know the instrument That screws me from my true place in your favour, Live you the marble-breasted tyrant still ; But this your minion, whom I know you love, And whom, by heaven I swear, I tender dearly, 12c Him will I tear out of that cruel eye, W7here he sits crowned in his master's spite. Come, boy, with me; my thoughts are ripe in mischief: I 11 sacrifice the lamb that I do love, To spite a raven's heart within a dove. Vio. And I, most jocund, apt and willingly, To do you rest, a thousand deaths would die. Oli. Where goes Cesario? Vio. After him I love More than I love these eyes, more than my life, More, by all mores, than e'er I shall love wife. 1 30 If I do feign, you witnesses above Punish my life for tainting of my love ! Oli. Ay me, detested ! how am I beguiled ! Vio. Who does beguile you? who does do you wrong? Oli. Hast thou forgot thyself? is it so long? Call forth the holy father. Duke. Come, away ! Oli. WTiither, my lord? Cesario, husband, stay. Duke. Husband! Oii. Ay, husband: can he that deny? 80 TWELFTH NIGHT. [Act V. Duke. Her husband, sirrah ! Vio. No, my lord, not I. Oli. Alas, it is the baseness of thy fear 14c That makes thee strangle thy propriety : Fear not, Cesario : take thy fortunes up ; Be that thou know'st thou art, and then thou art As great as that thou fear'st. E)itcr Priest. O, welcome, father ! Father, I charge thee, by thy reverence, Here to unfold, though lately we intended To keep in darkness what occasion now Reveals before ;t is ripe, what thou dost know Hath newly pass'd between this youth and me. Priest. A contract of eternal bond of love, 150 Confirnrd by mutual joinder of your hands, Attested by the holy close of lips, Strengthened by interchangement of your rings ; And all the ceremony of this compact Seal'd in my function, by my testimony : Since when, my watch hath told me, toward my grave I have travelUd but two hours. Duke. O thou dissembling cub 1 what wilt thou be When time hath sow"d a grizzle on thy case? Or will not else thy craft so quickly grow, 160 That thine own trip shall be thine overthrow? Farewell, and take her ; but direct thy feet Where thou and I henceforth may never meet. Vio. My lord, I do protest — Oli. O, do not swear ! HoldOlittle faith, though thou hast too much fear. Enter Sir Andrew. Sir And. For the love of God, a surgeon ! Send one presently to Sir Toby. Oli. What's the' matter? Sir And. He has broke my head across and has given Sir Toby a bloody coxcomb too : for the love of God, your help ! I had rather than forty pound I were at home. 171 Oli. Who has done this, Sir Andrew? Sir And. The counts gentleman, one Cesario: we took him for a coward, but he 's the very devil incardinate. Duke. My gentleman, Cesario? Sir And.''' Od's lifelings, here he is! You broke my head Scene i.] TWELFTH NIGHT. 81 i >r nothing; and that that I did, I was set on to do t by Sir loby. Vio. Why do you speak to me? I never hurt you: You drew your sword upon me without cause ; 180 But I bespake you fair, and hurt you not. Sir And. If a bloody coxcomb be a hurt, you have hurt me: 1 think you set nothing by a bloody coxcomb. Enter Sir Toby and Clown. Here comes Sir Toby halting ; you shall hear more : but if he had not been in drink, he would have tickled you other- - than he did. Duke. How now, gentleman . how is 't with you? Sir To. That 's all one : has hurt me, and there 's the end Ofl t. Sot, didst see Dick surgeon, sot? Clo. O, he's drunk, Sir Toby, an hour agone ; his eyes were set at eight i' the morning. 191 Sir To. Then he 's a rogue, and a passy measures pavin : I hate a drunken rogue. OIL Away with him! Who hath made this havoc with them? Sir And. I ;11 help you, Sir Toby, because we'll be dressed : ether. To. Will you help ? an ass-head and a coxcomb and a knave, a thin-faced knave, a gull ! Oli. Get him to bed, and let his hurt be look:d to. 200 {Exeunt Clown, Fabian, Sir Toby, and Sir Andrew. Enter Sebastian. ^eb. I am sorry, madam, I have hurt your kinsman ; lit, had it been the brother of my blood, 1 must have done no less with wit and safety. 1 .1 throw a strange regard upon me, and by that > perceive it hath offended you : m me, sweet one, even for the vows made each other but so late ago. hike. One face, one voice, one habit, and two persons, A 1 antral perspective, that is and is not! Web. Antonio, O my dear Antonio! 210 How have the hours rack'd and tortured me, e I have lost thee ! Sebastian are you? Fear'st thou that, Antonio? '. How have you made division of yourself? ( M 38 ) F 82 TWELFTH NIGHT. [Act V. An apple, cleft in two, is not more twin Than these two creatures. Which is Sebastian? Oli. Most wonderful ! Seb. Do I stand there? I never had a brother; Nor can there be that deity in my nature, Of here and every where. I had a sister, 220 Whom the blind waves and surges have devourd. Of charity, what kin. are you to me? What countryman? what name? what parentage? Vio. Of Messaline: Sebastian was my father; Such a Sebastian was my brother too, So went he suited to his watery tomb : If spirits can assume both form and suit You come to fright us. Seb. A spirit I am indeed ; But am in that dimension grossly clad Which from my birth I did participate. 230 Were you a woman, as the rest goes even, I should my tears let fall upon your cheek, And say 'Thrice-welcome, drowned Viola!' Vio. My father had a mole upon his brow. Seb. And so had mine. Vio. And died that day when Viola from her birth Had number'd thirteen years. Seb. O, that record is lively in my soul \ He finished indeed his mortal act That day that made my sister thirteen years. 240 Vio. If nothing lets to make us happy both But this my masculine usurp'd attire, Do not embrace me till each circumstance Of place, time, fortune, do cohere and jump That I am Viola : which to confirm. I '11 bring you to a captain in this town, Where lie my maiden weeds ; by whose gentle help I was preserved to serve this noble count. All the pccurrence of my fortune since Hath been between this ladv and this lord. 250 Seb. [To Olivia] So comes it, lady, you have been mis- took : But nature to her bias drew in that. You would have been contracted to a maid; Nor are you therein, by my life, deceived, You are betroth'd both to a maid and man. Duke. Be not amazed; right noble is his blood. If this be so, as yei the glass seems true, Scene i.] TWELFTH NIGHT. 83 I shall have share in this most happy wreck. [ To I Vola] Boy, thou hast said to me a thousand times Thou never shouldst love woman like to me. 260 Vio. And all these sayings will I over-swear; And all those swearings keep as true in soul As doth that orbed continent the fire That severs day from night. Duke. Give me thy hand; And let me see thee in thy woman's weeds. / '/('. The captain that did bring me first on shore Hath my maid's garments: he upon some action Is now in durance, at Ma).volio:s suit, A gentleman, and follower of my lady's. Oli. He shall enlarge him: fetch Mai volio hither: 270 And yet, alas, now I remember me, They say, poor gentleman, he ?s much distract. Re-enter Clown with a letter, and Fabian. A most extracting frenzy of mine own From my remembrance clearly banish'd his. How does he, sirrah? Clo. Truly, madam, he holds Belzebub at the stave's end as well as a man in his case may do: has here writ a letter to you ; I should have given 't you to-day morning, but as a madman's epistles are no gospels, so it skills not much when they are delivered. 280 Oli. Open ;t, and read it. Clo. Look then to be well edified when the fool delivers the madman. [Reads] ' By the Lord, madam ', — Oli. How now! art thou mad? Clo. No, madam, I do but read madness: an your ladyship will have it as it ought to be, you must allow Vox. Oli. Prithee, read i' thy right wits. Clo. So I do, madonna ; but to read his right wits is to read thus : therefore perpend, my princess, and give ear. 289 Oli. Read it you, sirrah. [To Fabian. Fab. [Reads] ' By the Lord, madam, you wrong me, and the world shall know it: though you have put me into dark- ness and given your drunken cousin rule over me, yet have I the benefit of my senses as well as your ladyship. I have your own letter that induced me to the semblance I put on ; with the which I doubt not but to do myself much right, or you much shame. Think of me as you please. I leave my duty a little unthought of and speak out of my injury. The madia-used Malvolio.' 84 TWELFTH NIGHT. [Act V. Oli. Did he write this? 300 Clo. Ay, madam. Duke. This savours not much of distraction. Oli. See him deliver'd, Fabian ; bring him hither. [Exit F My lord, so please you, these things further thought on, To think me as well a sister as a wife. One day shall crown the alliance on '"t, so please you, Here at my house and at my proper cost. Duke. Madam. I am most apt to embrace your offer. [To Viola] Your master quits you ; and for your service done him, So much against the mettle of your sex, 310 So far beneath your soft and tender breeding, And since you call'd me master for so long, Here is my hand: you shall from this time be Your masters mistress. OK. A sister ! you are she. Re-enter Fabian, with Malvolio. Duke. Is this the madman ? Oli. Ay. my lord, this same. How now, Malvolio! Mai. Madam, you have done me wrong, Notorious wrong. Oli. Have I, Malvolio? no. Mai. Lady, you have. Pray you, peruse that letter. You must not now deny it is your hand : Write from it. if you can, in hand or phrase ; 320 Or say :t is not your seal, not your invention : You can say none of this: well, grant it then And tell me. in the modesty of honour. Why you have given me such clear lights of favour, Bade me come smiling and cross-garter'd to you, To put on yellow stockings and to frown Upon Sir Toby and the lighter people; And. acting this in an obedient hope, Why have you sufferd me to be imprison'd, Kept in a dark house, visited by the priest. 330 And made the most notorious geek and gull That e'er invention play'd on? tell me why. Oli. Alas. Malvolio, this is not my writing, Though, I confess, much like the character: But out of question 'tis Maria's hand. Scene i.] TWELFTH NIGHT. 85 And now I do bethink me, it was she First told me thou wast mad; thou earnest in smiling, And in such forms which here were presupposed Upon thee in the letter. Prithee, be content: This practice hath most shrewdly pass'd upon thee ; 340 But when we know the grounds and authors of it, Thou shalt be both the plaintiff and the judge Of thine own cause. Fab. Good madam, hear me speak, And let no quarrel nor no brawl to come Taint the condition of this present hour, Which I have wonderd at. In hope it shall not, Most freely I confess, myself and Toby Set this device against Malvolio here, Upon some stubborn and uncourteous parts We had conceived against him: Maria writ 350 The letter at Sir Toby's great importance : In recompense whereof he hath married her, How with a sportful malice it was follow'd, May rather pluck on laughter than revenge; If that the injuries be justly weigh'd That have on both sides pass'd. Oli. Alas, poor fool, how have they baffled thee ' Clo. Why, ' some are born great, some achieve greatness, and some have greatness thrown upon them.' I was one, sir, in this interlude ; one Sir Topas, sir ; but that 's all one. 1 By the Lord, fool, I am not mad.' But do you remember? ' Madam, why laugh you at such a barren rascal? an you smile not, he's gagged' : and thus the whirligig of time brings in his revenges. 364 Mai. I '11 be revenged on the whole pack of you. \Exit. Oli. He hath been most notoriously abused. Duke. Pursue him, and entreat him to a peace : He hath not told us of the captain yet: When that is known and golden time convenes, A solemn combination shall be made 370 Of our dear souls. Meantime, sweet sister, We will not part from hence. Cesario, come ; For so you shall be, while you are a man ; But when in other habits you are seen, Orsino's mistress and his fancy's queen. [Exeunt all, except Clown. Clo. [Sings] When that I was and a little tiny boy, With hey, ho, the wind and the rain, TWELFTH NIGHT. [Act V. A foolish thing was but a toy. For the rain it raineth every day. But when I came to man's estate, 380 With hey, ho, &c. Gainst knaves and thieves men shut their gate. For the rain, &c. But when I came, alas ! to wive, With hey. ho. &c By swaggering could I never thrive. For the rain, &c. But when I came unto my beds, With hey. ho, Sec. With toss-pots still had drunken heads, 390 For the rain, &c. A great while ago the world begun, With hey, ho, &c. But that's all one, our play is done, And we ;11 strive to please you every day. [Exit. NOTES, Act I.— Scene I. i. music. ..food of love. Mr. Wright quotes Antony, ii. 5. 1 — " Music, moody food Of us that trade in love ". 2. surfeiting; the intransitive form is now used less frequently than the passive ' to be surfeited'. 4. dying fall, i.e. it sank softly to silence: so Pope {Ode on St. Cecilia's Day) — " The strains decay And melt away In a dying, dying fall ". 5. sweet sound. 0\:c. Pope being of opinion that a 'sound' does not 'breathe', substituted ' south' — south -wind. The change is wholly needless; and is open to the additional objection that the south wind in Shakespeare is always referred to as very unpleasant. 9. quick, 'volatile'. So, Julius Caesar, i. 2. 29, "that quick spirit that is in Antony". 10. That. Where we should say 'so that', 'seeing that', and the like, Shakespeare often uses 'that' alone. Abbott, Sh. Gr. 284, &c. 12. validity, 'value'. 12. pitch, 'high worth'. Pitch as a technical term in falconry meant the highest point to which the falcon rose: so being a test of the bird's worth. 14. fancy, i.e. 'love'. So often, e.g. Merchant, iii. 2. 63, "Tell me where is fancy bred ". 15. alone; i.e. 'past comparison'. Cf. Antony, iv. 6. 30, "I am alone the villain of the earth ". 16. go hunt. ' Hunt' is infinitive. The old infinitive form had the suffix -en, and, as this gradually dropped out of use, 'to' before the word took its place. After some verbs which we classify as "auxiliary' it has never been reckoned necessary to use 'to', and with some we can still use it or not, as we choose. In Shakespeare's day this class of doubtful verbs was much larger; so that we have "ought not walk" {Julius Caesar, i. 1. 3), and, on the other hand, "1 had rather hear you to solicit that" (iii. 1. 120); and at v. i. 364 — "let no quarrel nor no brawl to come Taint the condition of this present hour", SS TWELFTH NIGHT. [Act I. we have 'to' inserted where we should omit it, and omitted where we should usually insert it. 17. hart. Shakespeare makes his characters play upon their words in their most serious moments. So Antony, mourning over Caesar, makes this same pun {Julius Caesar, iii. 1. 207) — " O world, thou wast the forest to this hart, And this, O world, the very heart of thee"; and Rosalind, in a lighter mood (As You Like It, iii. 2. 260) — ' Cel. He was furnished like a hunter. Ros. Oh, ominous ! he comes to kill my heart"'. 19. The Duke in this passage compares himself to Actaeon, who, having beheld Artemis and her attendants bathing, was turned into a stag, and devoured by his own hounds. The idea of the lover as an Actaeon, torn by the desires which should be under his own con- trol, suffering for the beautiful vision he has seen, occurs frequently in the Elizabethans. 22. fell, ' fierce'. 23. pursue me. After 'since' we should say 'have pursued me'. 23. How now. For the metre, see App. B, § 3 (iv.). 24. so please, for ' if it so please ', or ' may it so please ', is a very frequent form of ellipse. 26. element, the air or sky. The universe was supposed to be composed of the four 'elements' — air, earth, water, fire: and the word is used specially of air, cf. Julius Caesar, i. 3. 128 — "the complexion of the element In favour 's like the work we have in hand". 27. seven years' heat, the heat of seven years, 'seven sum- mers '. The Folios read years instead of years' , and several commen- tators regard heat as a participle = heated, referring to 'the element*. Cf. Kingjokn, iv. 1. 61. '; The iron of itself, though heat red-hot". This formation of the participle is common with verbs ending in /, d, te, de (cf. the list in Abbott, 342); but the text as here given and rendered is preferable in itself; while the omission of the apostrophe by the printers is an obviously easy slip. 32. remembrance. Scanned as four syllables, 'rememb(e)rance": a vowel sound often being inserted between a liquid and another consonant. So in i. 2. 21, "The like of him. Know'st thou this count(e)ry ". See App. B, § 6 (iv. ). 33, 34. that fine frame To pay. 'That' and 'such' are often interchanged in Shakespeare, and the omission of ' as ' is common. Abbott. 277. 35. golden shaft, Cupid's love-shaft. It was fabled that Cupid had a golden arrow, creating love, and a leaden one, preventing it. Scene 2.] NOTES. 89 37. liver, brain and heart : these were regarded as the three supreme organs of the body, through which the soul acts. These, says Steevens, "are admitted in poetry as the residence of passions ', judgement^ and sentiments" . 38. 39. and fill'd Her sweet perfections : ' and her sweet perfections are filled '. 39. perfections, a quadrisyllable. See App. B, § 6 (ii. ). 39. self = self-same. So very commonly. Cf. Merchant, i. 1. 148— " To shoot another arrow that self way Which you did shoot the first". Scene 2. 1, 2. I should prefer printing these two lines and reading them as one; referring to App. B, § 5 (i). 2, 4. Illyria... Elysium. See note on i. 17, 'hart'. 5,6. perchance. Note the play on the two meanings of 'perhaps' and ' by chance '. 7. This may be scanned as coming under § 3 (iv. ) of App. B, or 'brother' may be treated as a monosyllable, as under § 6 (vii.). 10. those poor number. 'Number' may be treated as a noun of multitude, by analogy, though this is unusual. Otherwise we must alter the text reading ' numbers '. The printer's error in this case would be accounted for by the next word beginning with s. Malone reads 'this' for 'those'. 15. Arion — Ff. Orion — an obvious slip. Allusions to classical tales are very frequent throughout the Elizabethans, and cannot be cited as showing an author's acquaintance with Greek or even Latin originals. — The tale ran that Arion, a Greek musician, was voyaging from Sicily to Corinth ; when the sailors resolved to murder him for his wealth. He leaped into the sea, whereupon a dolphin which had been charmed by his music, bore him safe to land. — Observe that Shakespeare makes a sea captain quote Arion as readily as the Duke quotes Actaeon. 17, 18. These lines fall under the same metrical rule as 1 and 2. IQ-?I. Line 20 is a parenthesis, qualifying the word 'hope'. The Uke= ' a like escape for him '. 21. country scanned as a trisyllable. Cf. i. 32, note, and App. B, §6(iv.). 22. bred and born: it is curious that this inversion of the order of events has become stereotyped. 35. What's she? We should say 'who', or 'what kind of person is she?' Shakespeare often uses 'what' in this way. Cf. 5. 124, •• What is he at the gate?" 90 TWELFTH NIGHT. [Act. I. 40,41. Ff. read the sight And company. The transposition which gives the proper sense and order, and makes the metre correct, is due to Hanmer. 42. delivered, 'made known'. Cf. Coriolamts, v. 6. 41, "I'll deliver myself your loyal servant ". 43. 44. mellow What my estate is. So the Ff. ' Till I had made my opportunities ripen my present state '. ' Mellow " is a verb. The Globe puts a comma after mellow, rendering ' till I had made my opportunities ripe (for revealing the facts) in regard to my true posi- tion ". But this seems distinctly clumsier than the Folio reading. 48. though that. As words like 'when', 'where', 'how*, ori- ginally interrogatives, came to be used as relatives, ' that ' was frequently attached to them; and by analogy to 'if, 'though'. &c, Cf. 5. 324, " If that the youth will come this way to-morrow"; and see Abbott, Sh. Gr. 287, 288. 51. character, outward signs of inward qualities. So twice in Coriolamts ; but generally in Shakespeare of written marks. 53. Conceal me what I am. In the ordinary form, 'conceal what I am ', the clause is the object of the verb: but the insertion of the redundant object is common. So we have at i. 5. 269, " I see you what you are, you are too proud"'. In the present passage, however, 'me' may equally well be regarded as a dative (ethic dative), as in iii. 2. 35, "Why, then, build me thy fortunes upon the basis of valour". The same alternative explanation is to be found at v. 1. 123, "But hear me this". 55. I '11 serve this duke. Johnson thought Viola deliberately designed to make the Duke fall in love with her. Malone supposed that Shakespeare had the story of Duke Apolonius in his mind (see Introduction), and that we are to suppose Viola was already in love with the Duke, at which he takes lines 28 and 29 to be a hint. This seems very needless. Viola felt that she had better take service with some one, and since Olivia — whom she would have preferred — is out of the question, and she sees a way of getting at the Duke instead, she promptly takes the way. 59. aliow, commonly = 'acknowledge'; here 'cause to be ac- knowledged'; see Glossary. Scene 3. 1. a plague. It is difficult to know the original form of an interjectional expression. 'In the [plague's] name' is the probable origin of this and similar phrases. The end of the phrase is dropped when the emphatic word has been said, and 'in the' becomes either ' a' =in, or 'the', alone. 3. troth, 'faith'. Scene 3.] NOTES. 91 4. cousin. Olivia is Sir Toby's niece; but the word 'cousin' wa*; used generally to cover any relationship except that of parents and children among themselves, e.g. As You Like It, i. 3. 44 — " Ros. Me, uncle? Duke F. You, cousin." 6. except before excepted. Sir Toby is always more or less drunk, hence his witticisms are sometimes very much beside the mark. This phrase appears to be wholly irrelevant, and merely the outcome of a hazy recollection of a legal phrase, suggested by the word 'exceptions'. ' Except before excepted ' means ' with the excep- tions before named', corresponding to the Latin form exceptis excipi- endis. If we are to extract a meaning here, it would be ' let her take exceptions, as before '. 11. an, 'if. See Glossary. 13. quaff, drink deep. See Glossary. 18. tall, 'valiant', a veiy common use. E.g. 1 Henry IV. , i. 3. 62, "which many a good tall fellow had destroyed"; but it is gener- ally used sarcastically. 20. ducat, a coin of Italian origin, the name coming from the ' duchies ' where they were coined. 23. viol-de-gamboys, violoncello. So called because it was held between the legs. 24. speaks three or four languages. Cf. line 96. 26. natural. Maria plays upon Sir Toby's concluding words, and the use of ' natural ' = ' idiot '. 28. gust, taste. 31. substractors, a vinous malaprop for 'detractors . 33. coystrill, 'knave'. Used in the sixteenth century of the lowest class of camp-followers. It is connected with couteau, and means ' knife-man ', and appears to be a degradation of coustillier, the groom who carried a poniard. Certain French banditti, how- ever, went by the name of costeranx, and the two words may be associated in the later meaning of ' coystrill '. 38. parish top. "A large top was formerly kept in every village, to be whipped in frosty weather, that the peasants may be kept warm by exercise and out of mischief while they could not work " (Steevens). 39. Castiliano vulgo. We do not know whether this means any- thing or not— probably not. Warburton, however, suggested that we should read volto — ' look grave like a Castilian'. 43. shrew, a woman with a sharp tongue. See Glossary. 45. accost, 'approach', 'draw alongside', as a preliminary to ' boarding ' (line 60). The word occurs again at iii. 2. 23. 92 TWELFTH NIGHT. [Act I. 52. board: in continuation of the metaphor of an engagement between two ships. 63. Marry, 'by Mary'. 64. thought is free: an old proverbial expression, ' I can think what I like'. Which is as much as to say, 'Now I have you by the hand, I do think I have fools in hand'. 65. buttery-bar, the 'buttery' or provision room was so called not because of the butter stored there, but because of the bottles of ale and wine; being a corruption of botelerie. 67. dry: three senses of the word came into play, (1) dull, (2) thirsty, (3) liteially, the reverse of moist. A damp hand was regarded as a sign of an amorous disposition, and Maria implies that Sir Andrew is not in love, since his hand is not a lover's hand. For (1) cf. i. 5. 45. '" Go to, you're a dry fool". The clown then proceeds to play on the two senses again, ''give the dry fool drink, then is the fool not dry "'. 73. barren, ' barren- witted', since the jests are no longer at her fingers' ends. Cf. 5. So, ' ' I marvel your ladyship takes delight in such a barren rascal ". Cf. the opposite use of ' pregnant ', at ii. 2. 29. 74. canary, a kind of wine or 'sack' brewed in the Canary Islands: described in 2 Henry IV.. ii. 4. 29, "a marvellous searching wine, and it perfumes the blood ere one can say, ' What's this?" " 79. eater of beef. The belief that character was materially affected by diet was generally prevalent. So in The Taming of the Shrew, iv. 3, Grumio discovers ' choleric ' properties in one dish after another. For beef as a wit-destroyer, cf. Troilus, ii. I. 14, where Thersites calls Ajax a "mongrel beef-witted lord". 86. the arts include letters and polite studies generally. 87. The point of Sir Toby's jest lies in ' tongues ' and ' tongs' be- ing pronounced in the same way. By 'passing his time in the tongs' Sir Andrew would have made his hair curl. The foolish knight of course misses the point. 90. nature. Sir Toby is now carrying on his jest to the word 'arts', increasing Sir Andrew's confusion of mind. curl by nature is Theobald's emendation for the Ff. eoole my nature. 93. I '11 home. For the omission of the verb of motion cf. Julius Caesar, i. 1. 74 — "I'll about, And drive away the vulgar from the streets'". 95. she '11 none of me, ' She will have nothing to do with me'. Cf. 5. 321, and ii. 2. 13, "I'll none of it". 95. the count: Orsino appears as the 'Count' or the 'Duke', without distinction, throughout the play. There are other similar small slips and discrepancies, showing that Shakespeare did not revise with 'rreat care. Scene 3.] NOTES. 93 98. there 's life in 't, i.e. it is too soon to despair. 102. kickshawses, ' trifles '. Kickshaws is properly the singular, the word beiiii^ a corruption of quelque chose. Cf. 2 Henry IV., v. I. 29, " Any petty little tiny kickshaws". 105. an old man. Probably Sir Andrew did not know what he meant himself, but had a vague feeling that the qualification was creditable to his courtesy, and freed him from the charge of boasting. Its inanity is much more in character than Warburton's elaborate explanation that it is a satire on the way in which old men uphold the merits of the past generation. Theobald wished to substitute a noble man. 106. galliard, a dance involving agility. Fr. gaillard, described by Sir John Davies as being danced "with lofty tomes and caprioles in the air". 107. caper in the sense of a jump is from Lat. caper, ' a goat '. 109. backtrick, no doubt the technical name for a particular ' caper'. 113. Mrs. Mall's picture. The point of this allusion has been lost. There was a certain Mary Frith, known as 'Mall Cutpurse', who became very notorious a few years after this play was written, and who was the heroine of 7he Roaring Girl, a play by Middleton and Dekker; but she can hardly have become famous by this time, though no doubt there were pictures of her made later, which the ■ owners would not have displayed to the public eye. It must be remembered, however ; that though. the play was written in 1601, the earliest edition known is that of 1623 ; and a topical allusion may easily have been inserted in the interval. Hanging a curtain before a picture seems to have been a common custom. So Olivia, at 5. 25 1: " We will draw the curtain and show you the picture'"'. 114. coranto, another dance requiring gi-eat activity. 117. under the star of a galliard, 'a star favourable to dancing'. It was a common belief that the conjunction of planets under which a man was born influenced his physical and mental constitution as well as his character and his destiny. So he who is born under Jupiter is of a 'jovial' temperament, he who is born under Mercury is 'mercurial'. Astrological references are common throughout Shakespeare, and abound in this play. Cf. 4. 35, ii. I. 3, &c. 118. indifferent well, fairly well. So 5. 265, "item, two lips, indifferent red". 119. flame- coloured: Ff. datrfd coloured. The emendation is Pope's, but the only thing that we can be sure of is that some striking colour was meant. Phelps proposed damson-coloured, which is perhaps the likeliest correction. 119. stock, 'stocking'. Cf. Taming of the Shrew, iii. 2. 67, "With a linen stock on one leg. and a kersey boot hose on the other ". 94 TWELFTH NIGHT. [Act I. 121. Taurus. See note, supra, 117. Chaucer agrees with neither Sir Toby nor Sir Andrew, but attributes the neck and throat to the ' governance ' of Taurus. Scene 4. Viola has carried out her intention of taking service with Orsino as a page, and has assumed the name of Cesario. 4. humour; either (1) 'disposition' generally or (2) 'fickleness'. For (1) cf. 2 Henry IV., ii. 4. 256, "What humour is the prince of?" For (2) cf. Merchant, iv. I. 43 — " You'll ask me why I rather choose to have A weight of carrion flesh, than to receive Three thousand ducats: I'll not answer that, But say it is my humour". The bodily health and disposition were supposed to be dependent on the proper admixture of the four 'humours', viz. blood, phlegm, choler, and melancholy, which corresponded to the four 'elements'. A 'humorous' person was one in whom the admixture did not con- sist of the right proportions. 6. that = ' seeing that '. See note on i. 1. 10. 12. but =' than'. Cf. Midsummer Nighfs Dream, i. 2. S3, " They would have no more discretion but to hang us". 13. unclasp'd...the book. Steevens quotes / Henry IV., i. 3. 188, "And now I will unclasp a secret book". 15. access. Observe that the accent is on the second syllable. So always in Shakespeare, except Ham let, ii. 1. no, "I did repel his letters, and denied his access to me ". Many words were accented differently in Shakespeare's day and at the present time. See Appen- dix B, § 6. 1. 19. as it is spoke, 'as it is said'. Cf. Macbeth, iv. 3. 154— " And 'tis spoken, To the succeeding royalty he leaves The healing benediction ". 19. spoke. When the past participle terminated in-^«(as in 'taken', 'spoken', 'shaken'), the general tendency to dropping inflexional terminations often led to the substitution of the form of the past tense ('took', 'spoke', 'shook'). Cf. 5. 120, "Thou hast spoke for us, madonna"; 282, "He might have took his answer long ago", &c. So also we have ' writ ' and ' forgot '. Sh. Gr. § 343. 20. civil bounds, ' bounds of civility '. See Glossary, 'bound'. 27. aspect: accented on the second svllable. Cf. Merchant, ii. 1. 8— " I tell thee, lady, this aspect of mine Hath feared the valiant ". Cf. note on access, line 15, and Appendix B, § 6 (i.). Scene 5.] X< >TES. 95 29. yet, • for some time to come'. 31. rubious, ' ruby-red'. The word does not occur elsewhere. 31. pipe, ' voice'. 32. sound, i.e. 'not yet cracked'. 33. semblative, 'resembling': not found elsewhere. 33. a woman's part, /.£>.' like that of one who acts a woman's part in a play. At this time the women's parts were always taken by boys. There is a story of a delay occurring during the perform- ance of Romeo and Julie/, because the heroine was being shaved. 34. thy constellation. Cf. note on 3. 142. 34. apt, 'well-fitted'. 38, 39. ' And thou shalt live as free to call thy lord's fortunes thine as he to call them his ', i.e. ' Thou shalt share thy lord's fortunes '. 40. barful, ' full of impediments '. Scene 5. The clown, or jester, in attendance in great houses, is a familiar figure, taking a leading part in As You Like It, and in Lear. Here, however, he has neither the philosophy of Touchstone nor the pathos of the fool in Lear. 2. so wide as a bristle may; 'that' after 'as' is omitted; so frequently, just as the converse omission of 'so', &c. , before 'that' is common. See Sh. Gr. 307. 5. fear no colours. Feste — we learn from ii. 4. n, that this was his name — is playing upon 'colours' and 'collars', as 'dolours' and 'dollars' are played upon in the Tempest, ii. I. 18. To 'fear no colours ' is a soldier's expression for ' fear no one, under whatever colours he fights', while he who has worn a hempen cravat need fear no collar. 8. lenten, 'lean', 'dry' (Johnson); 'short', like the 'short com- mons' of the season of fasting (Steevens). 15. absent; or, to be turned away, is. The construction, if this punctuation be adopted, is simple. The Ff. read absent, or to be turned away: is. If this be retained, I suppose that 'will be' is again supplied = ' you will be to be turned away'. 17. Many a good hanging, &c. Montaigne has two stories of a Picard and a Dane, who were going to be executed, and were each offered a reprieve on condition of marrying a girl who in one case was lame and in the other plain. In each case the offer was declined. The stories may have been common property, but Florio's translation of Montaigne was not published till after this play was produced. A somewhat similar tale is told in Browning's " Muckle-mouthed Me-". 96 TWELFTH NIGHT. [Act I. 18. for turning away. &c. The obvious meaning is, that t\e season being summer, Feste does not strongly object to losing Hna situation. It has, however, been ingeniously suggested that the jester is punning on ' turning away ' and ' turning o' whey '. Yet another alternative is ' the summer will settle that ', inasmuch as slu will feel the want of him before it is over. 21. Maria's reply turns on the meaning of the word ' which was used for the laces with which the hose were faster! Cf. the pun in / Henry IV., ii. 4. 23S, " Their [sword] points being broken — Down fell their hose". Blackstone explains ' points' as M arrangement of 'hooks and eyes'; but other references— e. silken point ", / Hen>y IV., i. 53— certainly imply that they"weic laces. 21. That for 'so that'. Cf. i. 1. 10, note. 22. gaskins, loose breeches; so called from 'Gascony'. Some- times we find the form 'galligaskins'. Hence, another'derivation, from garguesques—gregesques = Greek. See Glossary. 23. apt, 'to the point'. 24. The Clown, being fairly matched in the encounter of wits, reverts with success to a personality, implying that Maria is tryinj to catch Sir Toby for a husband — as she does at the end of the play 27. you were best, 'it were best for you'. Cf. Julius Caesati iii. 3. 13, ,f Ay. and truly, you were best". Properly, the construc- tion is impersonal, 'you' being dative. This being misunderstood, the erroneous personal construction 'I were best', in place of 'ml were best ', came into general use. Sh. Gr. 230, 352. 31. Quinapalus. The Clown is given to inventing high-sounding and learned names. Cf. ii. 3. 23. The learning of the day was apt to be accompanied by a pedantry which was somewhat fantastic, and this is the object of Feste's ridicule. 32. Enter Olivia. Olivia and the Duke have this in common that they both find a genuine satisfaction in nursing their melanchol; and making an extravagant parade of it; while neither of them is nearly as much wrapped up in it as both persuade themselves thai they are. In fact, each is secretly rather tired of keeping up th| play, and distinctly relieved when a plausible opportunity offers fo dropping it. Olivia, in particular, is already obviously beginning u< be in want of a new ' sensation ' if she can get it without loss of dignity. Hence her readiness to be gracious to the fool, after r small show of formal indignation. Feste is alive to the situation, 01 his 'proof (72-77) would be too audacious even for him. 35. The Clown saves himself from the punishment with whicr Maria had threatened him by making the attack himself. 36. dry, ' dull '. Cf. note on 3. 77. 37. dishonest, 'badly behaved', as 'honest' is used generally for 'respectable', 'decently conducted". There is perhaps a refer- Scene 5.] NOTES. 97 ence to improprieties of a more specific kind implied in Feste's pro- longed absence without leave. 38. madonna, ' my lady '. Feste addresses Olivia by this title frequently, but it occurs nowhere else in Shakespeare. 41. botcher, 'patcher', 'cobbler'. 42. patched. The jester's clothes were 'patched' or parti- coloured; therefore, if he did not amend himself, the botcher was still bound to ' patch ' him. 44. This simple syllogism. A syllogism is a logical statement consisting of three propositions, of which, if the two first (the ' pre- misses') be true, the third must be so also. Feste has not stated his simple syllogism, but his argument is that he and Olivia are in the same case — he is sin patched with repentance; she is virtue patched with transgression: both, therefore, are 'patches' — ergo, both are fools. 45, 46. At this stage Feste takes refuge in deliberate nonsense, a device to which he is always ready to turn when an apposite remark fails him. It has the advantage of setting the listener off in search of a subtle witticism; or, in the case of Sir Andrew, of making him sure that something vastly witty has been said because he cannot see where the point lies. 49. misprision, misapprehension. In the highest degree introduces a play upon the legal use of the term in ' misprision of treason' or 'of felony', i.e. knowledge of the crime coupled with concealment of it. 49, 50. cucullus, &c 'It is not the cowl that makes the monk'. The clown airs his long words and scraps of Latin with unction. Here the interpretation is, ' it is not the suit of motley that makes the fool '. 54. dexteriously, doubtless an intentional mispronunciation. The form, however, actually occurs in Bacon's Advancement of Learning. 56. good my mouse. Cf. ii. 3. 191, note on "dear my sweet :'. mouse, an endearing term — the clown deliberately straining his privileges to the utmost so as to make it all the more difficult for Olivia to revert to her other complaint against him. 69. decays, 'causes to decay'. So in Sonnet lxv. 8 — " rocks impregnable are not so stout, Xor gates of steel so strong but time decays ". 76. barren, 'dull', as in i. 3. 84. 77. ordinary, i.e. one who has not attained the position of an 'allowed' or 'set kind of fool. 81. crow, ' laugh aloud'. So Jaques in As You Like Lt, ii. 7. 30, "My lungs began to crow like chanticleer". ( m 38 ) I r 98 TWELFTH NIGHT. [Act I. 81. these set kind of fools. 'Kind of, 'sort of, followed by a plural, are often incorrectly treated as forming a plural noun, ac- companied by a plural pronoun. So Lear, ii. 2. 107, "These kind of knaves I know". Sh. Gr. 212. 82. fools' zanies, the buffoons who attended performing fools or tumblers, like the clowns in a modern circus. Cf. Ben Jonson, Every Man Out of His Humour, iv. 1 — ' ' He ;s like the zany to a tumbler That tries tricks after him, to make men laugh". 82. zany: for derivation see Glossary. 84. distempered, 'disordered'. 85. bird-bolts, short blunt arrows. 86. allowed, 'licensed'. See Glossary. 87. nor no railing: the double negative is common in Shake- speare. Cf. ii. 1. 1, "nor will you not that I go with you?" and iv. 1. 6, " nor I am not sent to you by my lady", &c. 89. leasing, 'lying'. Mercury was the patron of thieves, and consequently skill in lying (which Feste regards as a useful accom- plishment) would be a natural gift for him to bestow. Warburton calls this a "stupid blunder" of the printers, and wishes to read pleasing, which would have no connection with Mercury, and would be most uncomplimentary to Olivia, as implying that she was not already endowed with the power of pleasing. 91. a young gentleman much desires. This omission of the relative is common. Cf. MercJiant, i. I. 175, "I have a mind pre- sages me such thrift ". Other instances in this play occur at ii. 1. 21; 4. no; kc. 98. speaks nothing but madman, i.e. in the character of mad- man. Cf. Henry V., v. 2. 156, "I speak to thee plain soldier". 103. spoke: see i. 4. 20, note on 'spoke'. 105. for — here he comes — one: Ff. here he conies one. Former editors read here comes; but, whereas the printers might very easily have dropped the hyphens (which the Cambridge edd. inserted), they would not have been likely to insert 'he'. In emending the text, it is important to credit printers with probable, not improbable errors. 105. pia mater, properly the membrane covering the brain, and so transferred to the brain itself. 106. What is he. Cf. i. 2. 35, note. no. Sir Toby's speech is interrupted by the results of his pota- tions, which he proceeds to attribute to pickle-herring. He has, in fact, passed the cheerful and reached the irritable stage of intoxi- cation. 124. crowner, 'coroner'. Cf. Hamlet, v. 1. 20, "Ay marry is't: crowner"s quest law". See Glossary. Scene 5.] NOTES. 99 129. yond, 'yonder'. 136. Has. For the omission of 'he' cf. v. I. 192, "Has hurt me '. 137. a sheriff's post, the post fixed by the sheriff's door for pro- clamations and announcements. 142. of very ill manner. The grave Malvolio condescends to a solemn jest, out of consideration, no doubt, for his mistress's weak- ness. 146. a squash, 'an unripe peascod '. Cf. Midsummer Nights Dream, iii. I. 191 — " Pot. Your name, honest gentleman? Peas. Peaseblossom. Pot. I pray you, commend me to Mistress Squash, your mother, and to Master Peascod, your father." 146. codling, ' an unripe apple'. 147. in standing water, i.e. 'at the turn of the tide' when it is neither ebbing nor flowing. Cf. Tempest, ii. I. 221 — "Seb. Well, I am standing water. Ant. I "11 teach you how to flow. Seb. Do so; to ebb Hereditary sloth instructs me." 149. shrewishly, 'sharply'. 'Shrewdly' is the same word in origin. See Glossary. 162. con, 'learn by heart'. Cf. Julius Caesar, iv. 3. 98 — " all his faults observed, Set in a notebook, learned and conn'd by rote ". 163. comptible, 'sensitive', 'easy to call to account'; not as Wat-burton took it, 'ready to call to account', a remark which would be neither diplomatic nor in character. 166. modest, 'moderate', ' enough to satisfy me '. 170. my profound heart. ' My heart' or 'my hearts' (as in ii. 3. 15, q.v.) is a common form of affectionate or general address, but is somewhat familiar for even so audacious a young gentleman as Viola. 173. usurp =' counterfeit '. So Taming of the Shrrw, Ind. I. 131- "I know the boy will well usurp the grace, Voice, gait, and action of a gentlewoman". 176. from my commission, 'outside' it. CI Julius Caesar, i. 1. 74- "he is superstitious grown of late, Quite from the main opinion he held once". 176. I will on. For omission of verb of motion, cf. Julius Caesar, i. 1. 69, "This way will I". ioo TWELFTH NIGHT. [Act I. 183, 184. If you be not mad, &c. Commentators, not seeing the distinction between 'not mad' and 'having reason', have pro- posed if you be mad, to make an antithesis. But the point is ' to stay is mere madness, but if you are bent on giving reasons be brief. 185. that time of moon. Lunatics were supposed to be at their worst at full mo >il Olivia means that she is not so very mad her- self. 185. skipping, 'flighty', 'silly5. Cf. Henry //'., iii. 2. 60, " the skipping king ". 188. swabber, ' scrubber ', one employed in swabbing or cleaning the decks on board ship. 188. to hull, to lie without hoisting sail. 189. your giant, 'your big guardian', Maria being evidently a small person. Sir Toby calls her ' The youngest wren of nine '". Perhaps an additional point would be given from the fact that it was at one time fashionable for ladies to have dwarfs in attendance. 190. Tell me your mind, &c. Usually given to Viola, but this seems to lack point. Perhaps something is omitted. The reading here adopted is Warburtotrs. Viola would imply by this that she is not there to speak her own mind, but to deliver a message. 193. courtesy, 'when it demands so much ceremony'. 194. ' It concerns your ear alone '. 195. taxation of homage, ' claim for homage \ 200. my entertainment, ' my reception \ 203. divinity: Olivia goes on playing on Viola's phrase and treats her ' divinity ' as a theological discourse. 217. draw the curtain. Cf. 3. 135, note, sub fin. 218. Such a one I was this present: the reading is hardly satisfactory. Hunter explains, ' such a one I was a few minutes ago'. Singer conjectures as this presents: which is plausible, since 'as' might have been dropped, coming immediately after 'was'. The change from ' present ' to ' presents ' is, however, superfluous. In any case, the sense seems to be 'you can see now what I looked like when Orsino saw me '. 220. ingrain, i.e. a 'fast' colour which will not wash out; a colour used in the manufacture, not laid on afterwards. 221. Viola is quite above that supposed weakness of her sex by which they are held incapable of perceiving a rival's beauty. Her praise is obviously perfectly sincere and unpremeditated. 221. blent, 'blended'. Formed on the analogy of 'bent', 'spent', &c. 'Blent' and 'blended' exist side by side, just as do ' bent' and 'bended'. 223. the cruell'st she. For 'she' used as a substantive = woman, cf. As You Like It, iii. 2. 10, "The fair, the chaste, the unexpressive she ". Scene 5.] NOTES. 101 228. labelled to my will, attached to my will by a label or codicil. 229. indifferent red. Cf. " indifferent well ", i. 3. 118. 231. praise : this should perhaps be printed 'praise for ' appraise ', which is clearly the meaning. So Troilns, iii. 2. 97, "Praise us as we are taste 1". 232. I see you what you are. Cf. 2. 53, "Conceal me what I am ", and note on the passage. 235» 236. ' The most perfect beauty would not be an excessive reward.' 236. For scansion, see App. B, § 3 (iv. ). 237. The line as it stands in the Folio, " with adorations, fertile tears ", can only be scanned if adorations is made five syllables and tears is made a dissyllable (cf. App. B, § 6 (viii. )), as it clearly is once in Titus, v. 3. 166, "Tear for tear, and loving kiss for kiss" (S/i. Gr. 48c). The Cambridge editors, however, suppose that an epithet for adorations — which would work out the idea of Jire, air, and water attached to the three following phrases — has been dropped. A very simple but not probable correction is to insert 'with', or ' and with ' after 'adorations '. 242. In voices well divulged, 'in popular talk well-reputed'. 242. free, ' noble '. Cf. " of free disposition", line 99. 244. For scansion, see App. B, § 3 (iv. ). 244. gracious, ' graceful ', ' beautiful '. 245. took; for the form see 4. 20, note. 246. in my master's flame, 'with a passion like his'. 249. what would you, 'what do you desire'. Viola, however, constructs her next sentence as if Olivia had said : ' what would you do?' 250. me, ethic dative="for myself", cf. 2. 53, note, sub Jin. 252. cantons. Canto, 'a song': canzone, 'a little song'. ' Canton ' appears to be a form between the two, arising perhaps from canto, cantone, 'corner'. Malone quotes the word from The London Prodigal and Heywood's preface to Britayneys Troy. 254. reverberate = ' reverberant ', ' echoing '. Shakespeare occa- sionally uses active for passive forms (as 'inexpressive' for 'inex- pressible ') and conversely passive for active forms as here. Cf. 'deceivable' used for 'deceptive' at iv. 3. 21, and 'emulate' in Hamlet, i. 1. 83, "pricked on by a most emulate pride". 257. air and earth, the 'reverberate hills', and 'the gossip of the air'. 258. but, ' without ', so ' unless '. So often. Cf. Merchant, v. 208— "I'll die for't but some woman had the ring". 102 TWELFTH NIGHT. [Act II. 267. fee'd post, ' paid messenger'. 275. blazon, the heraldic proclamation of the armorial bearings. The announcement was preceded by a 'blast' in the trumpet; ' blazon ' and * blast ' being from the same word. For tiie scansion see App. B, § 5 (iv. ). 'Soft; soft' is extra-metrical. 276. unless, &c. Of course, this phrase is only a bit of what Olivia is thinking, which is to the effect that "This would be ab- surd; unless the master — who is in love with me— were the man with whom I am falling in love ". Hanmer reads, ' unless the man the master were'; but Olivia's feeling at the moment is, not that she wishes Viola, who is not in love with her, were the duke, but that she wishes the duke, who is in love with her, were Viola. 278-280. I feel this youth's perfections To creep in...' To' might be either retained or omitted, after 'feel', in Shakespeare's time. Now it would be always omitted. Cf. note on 1. 16, and Sk. gr. 349. 281. For scansion, see App. B, § 3 (iv.), and § 5 (vi.). 282. peevish, 'wayward', 'malapert'. See Glossary. 283. The county's man. F 1. has countis man, the rest counts. Shakespeare probably meant the word to be sounded as a dissyllable. Where there is an earlier Quarto edition, ' countie ' is found for 'count', corrected to 'counte' in F 1. and to 'count* in later editions. 285. flatter with. Cf. Richard II, ii. I. 88, "Should dying men flatter with those that live?" 287. if that. Cf. 2, 48, " though that ", and note. 290, 291. ' Fear to find the admiration of my eyes too powerfnl for my mind to resist '. 292. owe, own. 'Owe' and 'own', i.e. 'owen', are the same verb, but in the latter form the infinitive inflection, is retained. In Shakespeare 'owe' in the sense of ' possess' is much commoner than ' own '. See S/i. Gr. p. 290. Inflexional affixes were being gener- ally discarded. Act II.— Scene I. This scene is clearly misplaced. It will be seen that a night intervenes between ii. 2, and the concluding scenes of the play; whereas a night does not intervene between Sebastian's parting from Antonio and the final scene. Observe that in spite of Sebastian's extreme youth he has the manners and capacities of a man. "Men and women developed much earlier three centuries ago. 1. Nor will you not. The double negative is frequent. Cf. i. 5. 102, " nor no railing in a discreet man", and note. 3. My stars. Cf. the note on astrology, i. 3. 142. 9. sooth, ' in truth '. Scene 2.] NOTES. 103 g. determinate voyage, ' settled journeying '. 10. extravagancy, 'vagrancy'; i.e. 'I have really no "deter- minate " voyage at all '. Shakespeare does not nse the word else- where, but he has the adjective in the corresponding sense — Hamlet, i. 1. 154, "The extravagant and erring spirit", and Othello, i. 1. 137 — "an extravagant and wheeling stranger Of here and everywhere". * 11. touch, 'delicate feeling'. Cf. JfiJsunimer Night's Dream, iii. 2. 2S6— "Have you no modesty, no maiden shame, No touch of bashfulness ". 13. it charges me, ' I am called upon'. 14. express, ' reveal'. 16. Messaline. The name is repeated at v. 231, where Viola says, " Of Messaline : Sebastian was my father ". There is no siu.h place known, and Shakespeare was probably thinking of Messina or Mitylene; but there is no justification for altering the text, as Hanmer proposed. • 18. so ended, i.e. in the same hour. Sebastian does not mean he wishes that they had died when they were born, but that he had not survived his sister. 19. some hour, 'an hour or so'. ' Some' is merely indefinite, ig. breach, 'breaking': i.e. ' from the breaking waves'. 21. a lady, sir, though. Observe the (quite common) omission of the relative; previously noted at i. 5. 91. 23. such estimable wonder, 'admiration that estimates so highly', the passive form 'estimable' being used for the active, like 4 reverberate ' for ' reverberant ' in i. 5. 254, where see note ; and cf. the converse use of ' unexpressive' for 'inexpressible'. The general sense is ' considering that she was held to be exactly like me, my admiration could not esteem her fairness so highly that I could quite believe she was beautiful'. 24. publish her, 'speak of her openly'. 27. with more, i.e. 'with salt tears'. 29. your trouble, 'the trouble I cause you'. 34. the manners of my mother. Cf. Henry V., iv. 6. 31, "And all my mother came into mine eyes". Scene 2. 5. To have taken it, 'by taking it'. The inflexional form of the infinitive in -en was falling out of use, and ' to ' being substituted. But 'to' belonged properly to the gerund; hence the infinitive with ' to ' often took the place of the gerund with ' to ' or some other pre- 104 TWELFTH NIGHT. [Act II. position. Here it stands for ' by taking'. So Richard II., ii. 2. 95, "But I shall grieve vou to repeat the rest". Cf. Abbott, Sh. Gr. 356. 7. desperate assurance, 'hopeless certainty '. 8. so hardy to come, ' so hardy as to come '. Cf. Merchant, iii. 3. 9— " I do wonder, Thou naughty gaoler, that thou art so fond To come abroad with him'*'. 10. Receive it so, ' take it, on that understanding '. Steevens, however, takes ' receive '=' understand ' as we have ' receiving ' = 'understanding' at iii. i. 131. 11. This line seriously puzzled Malone, who thought Viola ought to have made the more truthful remark, 'she took no ring of me '. But her actual words are indeed extremely characteristic. Viola, with her quickness of wit, sees that Olivia is sending her the ring under an imaginary pretext : and accordingly plays the part assigned to her without hesitation. She is far too generous to rouse Mal- volio's suspicions by denying Olivia's story, or allowing any ex- pression of surprise to escape her. 12. peevishly, 'impudently*. See Glossary. 13. so; i.e. with no more respect than you showed. 14. In your eye, 'under your eyes'. 16. not. After 'forbid', and other like words containing a negative idea, we no longer insert 'not'; its presence being a sort of example of the double negative, of which instances are quoted in the note at i. 5. 102. 18. sure, omitted in the first Folio. The correct reading is not now possible to ascertain. 18. last, ' caused her to lose '; or as we might put it ' had lost her her tongue '. 24. She were better. Cf. i. 5. 32, note on 'you were best'. 26. pregnant, 'quickwitted', the opposite of ' barren ', i. 3. 73. 27. proper-false, 'handsome but false'. 'Proper' is so used constantly in Shakespeare, and Moses is described in the A. V. as a "proper child". 31. fadge, 'succeed'. See Glossary. Cf. Love's Labour's Lost, v. 1. 154— " W e will have, if this fadge not, an antique''. 32. fond, 'dote', as the adjective 'fond' is used for 'doting'. The word is not elsewhere used as a verb. But see Abbott, Sh. Gr. 290. 34, 35. as I am man, Sec, either (1) 'in my character of serving- man, I despair of my master's love for Olivia being requited '; or (2) Scene 3.] NOTES. 105 1 having assumed the part of a man, I despair of winning my masters love'. 39. to untie, scanned as ' t' untie'. App. B, § 3 (ii.). Scene 3. ' Both Sir Toby and the Clown are at more pains to enjoy puzzling Sir Andrew than to be actually witty themselves, and are quite con- tent on occasion to talk pure nonsense simply for the sake of seeing its effect on the knight. 2. betimes. The small hours of the morning are early; to be up then is to be up early, and to go to bed then is to go to bed early; therefore he who goes to bed after midnight is up early, and goes to bed early, and manifestly keeps the healthful hours of the proverb. 2. diluculo; the full phrase ' diluculo surgere saluberrimum est'' — ' to be up early is most healthful' — comes from Lilly's Latin Grammar. Sir Toby is having a quiet hit at Sir Andrew's complete ignorance; as the phrase would be quite familiar to half the audience. 9. the four elements, earth, air, fire, and water, to which the four 'humours' corresponded (see note on i. 4. 5). Cf. Julius Caesar, v. 5- 73— "His life was gentle, and the elements So mixed in him that Nature might stand up And say to all the world, ' This was a man! ' " 13. stoup, ' cup ', not a measure; the capacity varied. 16. we three, a picture which in some form or other seems to have been common in country inns; two asses or fools being repre- sented with an inscription which the spectator was supposed to read and apply to himself, "We three loggerheads be". 18. breast, 'voice'. Not so used elsewhere in Shakespeare; but Ben Jonson, Hey wood, Fletcher, and other contemporary writers have it. 21. Pigrogromitus, &c. There is no particular point or allusion in these remarks of the Clown's, or apparently in his answer to Sir Andrew. Mr. Swinburne attributes some of the names he coins to the influence of Rabelais. His inclination to use long words with no meaning when in the knight's company has been already noted. 32. testril. sixpence. 'Testril' and ' tester' (2 Henry IV., iii. 2. 296) are both corruptions of 'teston', the name of a small French coin with a head (teste, tete) on it. The value varied. 33. Either the Clown simply interrupts, or some words have been lost. 33. A song of good life, a song with a moral; so at least Sir Andrew interprets it. It hardly follows that this was what the Clown himself meant, however. io6 TWELFTH NIGHT. [Act II. 48. sweet and twenty. The ordinary interpretation is that the lady addressed is 'sweet and twenty'. Mr. Wright, however, is sure that 'twenty5 if not 'sweet' applies to the kisses — 'a score of sweet kisses'. Twenty is of course commonly used as a round num- ber equivalent to 'a great many'. This tune was in print in 1599, which is probably earlier than the play. The song therefore may not have been Shakespeare's own; possibly the Clown's numerous songs were popular ditties imported into the play for the benefit of a particular actor. There is so near a kinship in the singers of Elizabeth's day that "internal evidence" would never warrant us in positively attributing any one song to Shakespeare. 51. contagious. Sir Toby merely uses the word as a trap for Sir Andrew, into which the latter straightway falls. 54. welkin, 'the sky'. 55. draw three souls out of one weaver. Music was credited with the power of drawing men's souls out of their bodies. Much Ado, ii. 3. 61, " Is it not strange that sheep's guts should hale souls out of men's bodies". The 'three' souls is merely an exaggeration, though Warburton discovered in it a learned reference to the doctrine of certain philosophers that every man has three souls. As to 'weaver', there is probably a double point. There were a number of refugee weavers in England, most of whom were probably poverty- stricken, and certainly Puritans, therefore by no means ready to have one soul drawn out by a tavern catch, not to speak of three. There may also be a hit at the Puritan Malvolio implied. 57. dog at a catch, a slang phrase for 'good at a catch'. 66. caterwauling, 'wawing', i.e. 'miaowing' like a cat, 'a cats' concert'. 69. Sir Toby is hopelessly confused in his epithets, which he applies without any consideration for their appropriateness. 69. Cataian, 'Cathayan', inhabitant of Cathay, e.g. China, a term implying cheating and roguery, for which apparently the 'heathen Chinee' had already acquired a reputation. Cf. Merry Wives, ii. I. 148, "I will not believe such a Cataian, though the priest of the town commended him for a true man ". 69. politicians: if Sir Toby means anything in particular, which is doubtful, it is that he and his companion are occupied with serious affairs of state. 70. Peg-a-Ramsey conveys nothing. There were two tunes under that name extant in Shakespeare's time, but the words are lost. It is probable that if they were found they would not make sense out of Sir Toby's remark. 70. Three merry men, here the knight breaks into song. There are numbers of old songs which have these words as a refrain. Per- Scene 3.] NOTES. 107 haps at the time the song from Peele's Old Wives Tale (1595 > was familiar— " Three merrie men, and three merrie men, And three merrie men be wee: I in the wood and thou on the ground, And Jacke sleepes in the tree". 71. Tilly vally. Cf. 2 Henry IV., ii. 4. 90, " Tilly-fally, Sir John, ne'er tell me". It is hardly necessary to find a derivation for it, though Steevens refers us to Plautus and titirilitium, and Douce explains it as a French hunting phrase, for which 'tally-ho' would have done equally well. 71. The word Lady suggests another song with 'Lady, lady', as its refrain. Warton says this is the Ballad of Susanna (1562). Several other songs had the refrain. 73. Beshrew me. 'ill befall me'. See Glossary, s.v. Shrew. 80. wit, 'sense'. 80. honesty, 'propriety'. So Olivia before charged the Clown with "growing dishonest", meaning that his conduct was irregular. 82. coziers, ' tailors ', of the class previously referred to as 'botchers', I.e. patchers or menders. Malvolio may mean to imply that their catches are mere patchwork, but this seems a rather need- lessly recondite explanation. See Glossary. 85. Sir Toby particularly enjoys turning Malvolio's phrases into something they were not intended to convey. 85. sneck-up, 'go and be hanged'. 86. round, 'direct', 'unceremonious'. The adverb is so used very commonly, but how this meaning arose is not obvious. Cf. Henry V, iv. 1. 216, "Your reproof is something too round". Per- haps the idea of 'thoroughness' is the origin of this sense. 104. out o' tune, sir: ye lie. This appears to be addressed to Malvolio, and is a fuddled reminiscence of Sir Toby's idea that the steward had accused him of not keeping time. Others, however, take it as addressed to Feste in answer to the last remark. 105. This is a very plain allusion to Malvolio's Puritanism, and his consequent objection to the church festivals, which were the occasion of much merry-making and the consumption of ' cakes and ale ' on a large scale. To the Puritans, the cakes and ale were not only to be condemned in themselves as riotous excesses, but their connection with the feast days and ceremonies of the discarded religion rendered them marks also of superstition. 109. rub your chain with crumbs, I.e. polish up your badge of office; ' mind your own business'. 113. uncivil rule, ' unmannerly behaviour'. 108 TWELFTH NIGHT. [Act II. 114. go shake your ears, like an ass. Cf. Julius Caesar, iv. 1. 28— " turn him off Like to the empty ass, to shake his ears And graze in commons ". 115. as good a deed as to drink. Cf. / Henry IV., ii. 1. 32. " An *t were not as good a deed as drink to break the pate on thee, I am a very villain ". 116. to challenge him the field, i.e. to single combat. Con- sidering that Sir Andrew is so drunk as to talk of 'a-hungry' when he means 'thirsty', it is very unnecessary to follow the commentators who desire to correct his grammar and read ' to the field'. 123. gull, 'deceive', ' make a gull of him '. 123. nayword. The sense here seems to be 'by-word'. Elsewhere Shakespeare uses it for 'password', e.g. Merry Wives, ii. 2. 131, "In any case have a nayword, that you may know one another's mind ". The origin is uncertain, but the form is still in use in the provinces. 126. possess us, 'tell us all about it'. Cf. Much Ado, v. I. 290 — " Possess the people in Messina here How innocent she died". 127. puritan. This term for the extreme anti-Roman section of the Reformers who made a special point of austerity in manners occurs in Shakespeare only in All's Well and the Winter's Tale. It has often been said that the character of Malvolio is intended as a hit at the Puritans, with whom the playwrights were already waging war. But from line 134 it may reasonably be surmised that the steward's faults are not to be attributed to his Puritanism. Maria seems to imply that her hatred of him is due to his pretence of Puri- tanism— she could have forgiven him if it was genuine. On the other hand, to the drunken knight it is the genuine Puritan who is to be beaten like a dog. The conclusion, if any conclusion can be based on such slight data, is that Shakespeare could respect a genuine Puritan, while considering the sham article a legitimate subject for mocker)7. See App. A. 129. exquisite, 'subtle'. 134. time-pleaser, 'time server'. So also in Coriolanus, iii. 1. 45- 134. affection'd. 'affected'. It is probable that 'affection' is used for 'affectation' in Love's Labour, v. 1. 4, where it is the read- ing of the First Folio, though changed in the others; and in Hamlet, ii. 2. 464, where it is the reading of the Quartos, but changed in the Folios. 134. cons, 'learns by heart'. Cf. i. 5. 186, and note. The whole phrase means ' he has learnt up state {e.g. ' deportment ') as an actor Scene 3.] NOTES. 109 learns his part till he can perform it without book, and deliver it in bundles'. 134. state. Cf. Love's Labour, v. 2. 298, "keep some state in thy exit, and so vanish". 135. swarths, otherwise written 'swath', the bundle of grass or hay that falls to each sweep of the mower's scythe. The word is of course used contemptuously. 135. the best persuaded, ' with the best opinion of himself. 143. expressure, 'expression'. Cf. 'impressure' for 'impres- sion', 5. 103. 152. of that colour, ' of that kind '. Cf. As You LJke Lt, i. 2. 107, " Sport ! of what colour?" 153. And your horse. Tyrwhitt considered this too apt a jest for Sir Andrew, and assigns it to Sir Toby. The error, if there is one, might be explained by 'And' in the MS. being taken for ' And\ standing for Sir Andrew. 161. Penthesilea, Queen of the Amazons, and presumably of heroic mould. A jibe at Maria, who is a little woman. Cf. i. 5. 218, where Viola says, "some mollification for your giant", and note sud loc. 162. Before me, a harmless alteration for the oath 'Before God'. 163. one that adores me. Sir Toby is now in the 'glorious' stage, while Sir Andrew follows suit. But cf. i. 5. 29. 16S. recover, 'attain', not necessarily 'get back*. Cf. Two Gentlemen, v. I. 12 — " the forest is not three leagues off; If we recover that, we are sure enough". 168. a foul way out, 'very much mistaken'. 170. send for money. Sir Toby's object in making Sir Andrew woo Olivia is, quite obviously, that he may have the knight's purse at his disposal. He would be the last person to expect the suit to succeed. 171. call me cut. The word ' curtal' was applied to a horse or a dog whose tail had been docked. In the case of the horse, this was abbreviated into ' cut ', as in the case of the dog it was abbrevi- ated into ' cur '. So a ' cut ' is to a good horse what a ' cur ' is to a good dog. (See Glossary, however.) The word is not so used else- where in Shakespeare, but its origin may be illustrated by 'cut and long tail' = ' of all sorts', in Merry Wives, iii. 4. 47. 173. burn, i.e. 'mull'. 173. sack, a special class of wines ; but chiefly applied to Xeres (whence Sherry) and Canary. The name came from the French sec, and Spanish seco, ' dry ', applied to these wines. ' Dry ', however, is not used in the sense in which we apply the term to wine; but meant wine made from grapes which were much dried by the sun. TWELFTH NIGHT. [Act II. Scene 4. Here, as before, the Duke's enjoyment of music is exceedingly wayward and fitful. His explanation (lines 17 and following 1 is ingenious, nevertheless the admission at line 34 hints that he is becoming alive to the fact that his constitution has more to do with his fitfulness than the ardour of his passion. 3. antique, ' quaint ', as may be seen from the companion form ' antic ', in which the idea of age has altogether given place to that of absurdity. 4. passion, 'the fever of his love', for which Orsino regards music as a sort of medicine (as in the opening lines of the play). Mr. Wright, however, takes it to mean 'suffering'. 5. recollected terms: an obscure phrase; apparently conveying the same sort of idea as 'light airs'. Mr. Wright says it means ' phrases collected with pains ', which might be true if it did not appear wholly inappropriate. Johnson explains it as 'repeated phrases', referring to the repetition of musical phrases by composers. 17. motions, 'emotions'. Cf. Merchant, v. 86, "The motions of his spirit are dull as night". Similarly we have ' praise '=:' ap- praise ' (i. 5. 231), ' 'haviour '=' behaviour' (iii. 4. 188), &c. 24. favour, 'countenance'. Cf. iii. 4. 303, " Xo, sir, no jot: I know your favour well". 25. by your favour. Viola plays on the Duke's use of the word, though he, of course, does not see the secondary meaning. 20. too old. This piece of advice has been traditionally taken as Shakespeare's private reflection on his own folly in having married Ann Hathaway, who was older than himself. But Shakespeare was not in the habit of making his characters mouthpieces; the Duke's opinion must, in this case as in others, be taken for what it is worth, as his own view and not necessarily that of the poet. 30. ' Adapts herself to him. and rules his heart steadily.' 32-35- Orsino is generalizing from his own case, although a few lines later he vehemently protests that a man's love is much stronger than a woman's (see 96 and following lines). 37. hold the bent, keep the direction steady. Cf. Romeo, ii. 2. 143, " If that thy bent of love be honourable ". 45. free, 'careless'. 45. that weave their threads with bones, i.e. 'lace-makers', who were in the habit of using bones for pins in their craft. 46. silly sooth, 'simple truth'. 47. dallies, 'plays'. 48. the old age, 'the good old days'. Scene 4.] NOTES. ill 51. Song. It has been objected that the song does not answer to the Duke's description : nevertheless, a song of the woeful fate of a swain who dies of love may very fitly be described as ' dallying with the innocence of love', especially by the Duke, who would rather like to believe that he is dying of love himself. However, it is quite possible that this is not the original song. Cf. the previous note on Feste's songs, at ii. 3. 4S. 52. cypress. This may mean either a 'coffin of cypress wood* 1 the cypress and the yew' being alike funereal), or a 'shroud of Cyprus crape'. Either would be quite appropriate. M alone ob- jected that as the shroud is white (line 55), 'sad' would be a wrong epithet for the material ; but the sadness is not in the colour but in the fact of its being used as a shroud. Crape was certainly manufac- tured in Cyprus, and the material is mentioned as ' cypresse ' in various places; e.g. Winter's TaU, iv. 4. 221, "Cyprus black as e'er was crow ": and in this play, iii. I. HO— " A cypress, not a bosom, Hideth my heart". See Glossary. 65. Sad true lover never find my grave. The scansion of this line has troubled the commentators; but irregularities are per- missible in a song. It may, however, be observed that both ' lover'' and ' never' may be read as monosyllables on occasion. App. B, § 6 (vii.). 72. A polite way of giving the Clown leave to leave him. 74. taffeta, silk. ' Changeable taffeta' is silk that changes colour as the light varies. 75. opal, a precious stone of which the colour varies according to the light in which it is held. 84. as giddily: i.e. ' I am as careless of them as Fortune'. 85. queen of gems: i.e. 'her beauty'. 86. pranks, 'decks'; now generally, but not always, used in a slightly disparaging sense. 88. I : Ff. //. The correction is Hanmer's; but though we should have expected '/' rather than 'It', as it suits the context rather better, the ground for changing the text seems hardly sufficient. 96. they lack retention. When the Duke was giving advice to his supposed page, his text was the superior constancy of womankind. But when a woman's parallel to his own case is suggested, he forgets all about their superior constancy. And yet we are expected to regard the casual sentiment of his former mood as the poet's solemn warning derived from his own experience. See note on line 32. The Duke— very properly and entirely in character — makes two flatly contradictory statements about women in general in the course of a single scene — consequently there are plenty of people who will ii2 TWELFTH NIGHT. [Act It quote one opinion or the other, and say we have not Orsino's but Shakespeare's authority for taking that view. What Shakespeare thought on the subject we may infer from the characters of the women he drew more accurately than from the various opinions expressed by his dramatis personce. 98. motion, emotion, a.* supra, line 17, q.v. 98. the liver: regarded as the seat of the emotions. Cf. note on 'liver, brain, and heart", at i. I. 37. 99. that suffer. ' That ' refers back to ' their ' (97), not to ' palate '. 99. cloyment, 'cloying'. Not used elsewhere. 100. all : used adverbially = ' quite ', ' altogether '. 101. compare, 'comparison'. Shakespeare uses several verb- forms as substantives. ' Beyond compare ' is familiar. 103. owe: 'possess', 'feel'; as in i. 5. 329. For its use here followed by a dative (Olivia), cf. Coriolanus. v. 6. 139 — " the great danger Which this man's life did owe you". In other instances, to ' owe ' loz.Vc. 75. employment. The word is merely used out of Malvolio's affection for grandiloquence. 76. woodcock: mentioned several times as a type of foolishness and gullibility. Cf. Taming of the Shr^v, i. 2. 161, "O this wood- cock, what an ass it is ". 76. gin. an abbreviation of 'engine', which is properly any sort of contrivance requiring skill [itigenium) in construction. 80. It is to be observed that there is neither a C nor a great P in the superscription of the letter. It is an obvious and simple way out of the difficulty to suppose that Malvolio does not read the whole of it aloud, but that would not fit well with so precise a character. Probably Shakespeare merely named letters that would sound well, knowing that no audience would detect a discrepancy. He was apt to be careless of such details. E.g. M alone quotes from AlTs Well, iii. 2. and v. 3. where the same letter is read in each scene, but with a different wording! 81. in contempt of question, ' to question it would be absurd'. 85. impressure. for 'impression'. Cf. 'expressure of his eye' at 3. 171. 85. Lucrece. The story of Lucretia, wife of Collatinus, the occasion of the expulsion from Rome of the Tarquins, was a favourite one in the sixteenth century. Lucretia was regarded as the type of a chaste matron, and her head seems to have been frequently en- graved on gems. 93. the numbers altered, 'the metre is changed'. Cf. Love's Labour, v. 2. 35 — "Nay. I have verses too, I thank Biron: The numbers true''; i.e. correctly constructed. 'Numbers' in the general sense of 'verse' is of course familiar. g5. brock, 'badger'. It is unnecessary to search for any special appropriateness in the epithet, as Malone does. 97. a Lucrece knife, a knife wherewith the modest dame slays herself for shame. See note 85, supra. 100. fustian, 'in inflated style'. 104. what dish. We should say 'what a dish'; but cf. Julius Caesar, i. 3. 42, " Cassius, what night is this". 105. staniel : Ff. stallion, which is absurd. The correction is Hanmer's. A "staniel' is what is commonly called a 'kestrel', a kind of hawk. Scene 5.] NOTES. 115 105. checks, turns aside, as an ill-trained hawk would turn, after inferior game, instead of keeping to its true object. 108. any formal capacity, any properly regulated intelligence. 'Formal' is used almost as equivalent to 'sane', Comedy of Errors t v. 105 — " To make of him a formal man again ". 113. Sowter, lit. 'cobbler': so = bungler. 'Bungler' (as though Malvolio were a stupid dog named Bungler) 'will open cry' {i.e. 'will 1 recover the scent ') 'though a very inferior hound could do that see- ing how rank it lies.' 117. at faults, ' when the trail is puzzling'. 120. O shall end, 'he will cry O at the end of the story'. John- son thought 'O' meant 'a collar of hemp'. 126. ' If this were a little manipulated, it would adapt itself to my view. ' 128. my stars. Cf. i. 3. 142, note. 131. thy blood, 'thy courage'. Cf. / Henry IV., iii. 1. 181, "Though sometimes it show greatness, courage, blood". 133. thy humble slough : as a snake casts its old skin and appears in brighter colours. 134. opposite with, ' contradictory towards'. The 'kinsman', of course, is intended for Sir Toby. 135. the trick of singularity, ' the air of eccentricity '. To be ■ fantastical ' was fashionable. 138. cross-gartered. At this time apparently a new fashion, the garters being worn both above and below the knee, and sc crossing at the back. Some years later the fashion had gone out, but seems to have been still affected by Puritans; whence Steevens supposes that it is here introduced as a hit at Malvolio's puritanism. It is probable, however, that it only became a Puritan habit to wear cross-garters after the fashionable world had discarded them. 139. thou art made, ' thou art a made man '. 141. alter services, ' become thy servant, as thou art hers'. 143. champain, 'open country where there is a clear view'. 143. discovers. A singular verb following a plural subject is by no means rare. Explanations may be found for many individual cases— such as the verb being referred to only as one of two subjects (as here); the attraction of the verb to the number of a word inter- vening between it and the subject; &c. But there are many cases where no such explanation is possible. Dr. Abbott (Sh. Gr. 247 and 332-338) makes out a strong case for the theory that the ap- parently singular forms are not really singulars in defiance of grammar, but plurals — survivals of the old South English plural form in -eth and North English plural form in -es. u6 TWELFTH NIGHT. [Act III. 144. politic authors. Cf. Sir Toby's remark "We are politi- cians " ; ' politic authors * would mean ' exponents of political philo- sophy ' — such as Machiavelli, whose works Malvolio proposes to study to fit himself for the high position in store. 145. point-devise, 'precisely', 'punctiliously'. In full, 'at point devise ', according to Skeat, from a point devis. The word is used in two other places in Shakespeare apparently in the sense of ' superfine '. Perhaps we should here also take it in this sense, as an adjective, placing a comma after it. Whether it is adverb or adjective, the sense of 'superfine' rather than of 'precise'" seems to predominate in Chaucer as well as in Shakespeare. 147. jade me, 'act like a jade to me', or 'make a jade of me', since the word 'jade ' is applied to suggest either vice or bad physical condition in a horse. The idea of vice, however, is more frequent; it is oftener a term of abuse than of contempt. 152. strange, 'affecting the trick of singularity', or else 'dis- tant". 152. stout, 'surly and opposite'. So 2 Henry VI., i. 1. 187, " As stout and proud as he were lord of all ". 158. dear my sweet. In addresses 'my' often separates the adjective and substantive ('sweet' is here substantive), as in such phrases as ' good my lord ' ; and similarly we find ' sweet our queen ', and at i. 5. 56, "good my mouse of virtue ". Cf. Abbott, Sh. Gr. 13- 162. the Sophy, the ordinary European name for the Shah of Persia, the chief Asiatic potentate known in the west, who was of course assumed to be fabulously rich. In the Merchant of Venice the Prince of Morocco boasts among other things that his sword had slain "the Sophy and a Persian prince that won three fields of Sultan Solyman ". The name is taken from the Safavi dynasty, who ruled from 1500 to 1736. 171. tray-trip, a game played with dice, in which throwing the 'tray' or 'threes' was particularly important. Further details are not known. References to the game are found in Taylor the Water- Poet, Glapthorne's Wit in a Constable, &c. 183. Tartar, Tartarus, the lowest deep of the infernal regions. Act III. -Scene I. 2. tabor, a kind of small drum, commonly used by professional jesters or clowns. An additional point may be given to the Clown's reply if there was an inn familiar to Shakespeare's audience known as 'the tabor'. But if there is any such hidden jest, which is ex- tremely doubtful, it might rather be supposed that the Clown pre- tends to mistake Viola's pronunciation of 'tabor' for 'tavern'. There is no record of any ' Sign of the Tabor '. 4. churchman, i.e. an 'ecclesiastic'. Scene i.] NOTES. 117 12. cheveril, 'kid', i.e. of particularly soft and pliant material. Cf. Henry J'///., "your soft cheveril conscience". 30. pilchards, a fish bearing a strong resemblance to a herring. 35. I would be sorry but, ' I should be sorry if the fool were not', &c. By the sarcastic ' your wisdom ' Feste implies that happily < trsino is as adequately supplied with a fool as Olivia. 38. pass upon me: ' pass' being used of a thrust in fencing; the phrase is generally taken to mean 'thrust at me in your word- fencing'. But there is no instance of 'pass upon ' being so used, and it seems rather to suggest ' play tricks ' much as we use ' pa>s off'. C£ v. 1. 340, "This practice hath most shrewdly pass;d upon thee". 40. commodity, 'consignment'. Cf. / Henry IV., iv. 2. 19, "Such a commodity of warm slaves as had as lieve hear the devil as a dram '". 47. welkin... element: the word 'element' had become a part of the pedantic slang in vogue at the time. The Clown's synonym for it is of course appropriate only in a totally different sense. 53. haggard, the hawk when wild, which pursues any quarry that appears. Cf. the previous remarks on the staniel (ii. 5. 24). The trained hawk would strike only at higher game. The point here is, that the jester must distribute his wit miscellaneously, so escaping the suspicion of malignity. 56, 57- 'Judicious folly must be properly adapted to time and place; but when a wise man talks folly he spoils his own reputation for wisdom.' 57. wit: here used in the common Shakespearean sense of 'in- telligence', 'shrewdness', not 'wittiness'. 60. Dieu vous garde. This must be spoken by Sir Andrew, as the next remark attributed to him is evidently not Sir Toby's. It has been suggested that the two knights' speeches should be inter- changed, as Sir Andrew before was so ignorant of French that he was puzzled by Toby's ^pourqitoT (L 3. S3), but that would not interfere with his having picked up a French phrase. 64. trade, ' business ' generally; perhaps here more closely con- nected with the idea of 'going to and fro', conveyed in Richard II.. iii. 3. 156, "some way of common trade". 65. I am bound. Viola takes up Sir Toby's phrase and plays on it. ' Bound ' should be spelt ' boun ', having no connection with ' bind '. See Glossary. 65. list, 'limit', 'goal': properly the fringe or border of a piece of cloth. Cf. / Henry IV., iv. 1. 51 — " The very list, the very utmost bound Of all our fortunes ". Also see Glossary. n8 TWELFTH NIGHT. [Act III. 67. Taste your legs. Sir Toby's eccentricities in the use of language have three sources: canary, the desire to mystify Sir Andrew, the affectation of a temporary fashion. This phrase, like "encounter the house" above, falls under the third class. 'Taste' being used for 'try', ' test :, in such phrases as "taste their valour" (for which cf. "a taste of your quality", &c), with abstract words, Sir Toby extends its use to the very concrete word ' legs '. 72. prevented, 'anticipated'. To 'prevent' is literally to 'go before', whether as a guide (for which cf. the Prayer-book, "May always prevent and rule our hearts"); or as an obstacle, from whence comes the ordinary use; or simply, as here. 78. Observe the extreme affectation of style which Viola adopts whenever she is formally speaking as the Duke's messenger. The moment she speaks for herself, or with any touch of real emotion, her phrases are no longer of the recondite kind which rouse Sir Andrew's envy, but become pure poetry. 88. lowly feigning. ' pretended humility '. 98. hear you to solicit. Cf. note on 'go hunt', i. 1. 16. go. music from the spheres. This is a reference to the Pytha- gorean notion of the universe as having harmony for its central principle. Plato uses the idea in the Republic, from which Milton took the lines in his Arcades — " Then listen I To the celestial sirens' harmony That sit upon the nine enfolded spheres . . . And the low world in measured motion draw After the heavenly tune, which none can hear Of human mould, with poor unpurged ear". The same idea is found in the Ode on St. Cecilia's Day — " From Harmony, from heavenly Harmony, This universal frame began ". 102. abuse, 'misuse'. Cf. Othello, quoted infra, line 140, note. 107. at the stake: the metaphor is from bear-baiting. 109. receiving, 'understanding'. Cf. ii. 2. 12, note, no. cypress, i.e. a transparent covering. 'Cypress' or 'Cyprus' is crape. Cf. the discussion of the word in ii. 4. 52, note, and see also Glossary. 113. a grize, 'a step'. Cf. Timou, iv. 3. 16 — " Every grize of fortune Is smoothed by that below". 113. a vulgar proof, 'a common experience', a thing proved by common experience. So Julius Caesar, ii. 1. 21 — " ' Tis a common proof, That lowliness is young ambition's ladder". Scene 2.] NOTES. 119 124. westward-ho: a familiar cry on the Thames, when the watermen were ready to start up stream, westwards. 129. that you do think, &c. , 'that you forget your position' in failing in love with a servant. Olivia in her reply means that she thinks "Cesario " is not in the position he ought to occupy; whereas Viola in turn refers— in her own mind and to the audience —to her not being a man. 140. maidhood. This form occurs again, Othello, i. I. 173 — " Is there not charms By which the property of youth and maidhood May be abused?" 141. maugre, 'despite'. Fr. tnalgri. 149. no woman has, ' I have given to no woman'. 149. nor never none. The repetition of negatives, intensifying the negative force, is common, as observed at i. 5. 87, note; but the triple negative, as here, is rare. Cf., however, As You Like It, i. 2. 29, "nor no further in sport, neither", and the Clown at iv. I. 8 in this play. Scene 2. 13. grand-jurymen. It is the business of the grand-jury not to decide the question of guilt or innocence, but whether there is sufficient evidence against an accused person to have the case fully tried. 16. dormouse, i.e. sleeping like a dormouse. 18. accosted. Cf. i. 3. 52, note. 21. balk'd, 'missed'. .A 'balk' is a 'block', and so a stumbling- block. Hence 'to balk' is either 'to stumble' or 'cause to stumble', and so ' fail ' or ' miss '. 21. the double gilt, &c. , 'having this very fine opportunity given you, you allow it to be spoilt by a delay '. 22. sailed into the north, i.e. the cold and frosty regions of dis- credit, instead of the sunshine of favour. 23. a Dutchman's beard. The Portuguese, Spaniards, Dutch, and English were the great ocean-going and exploring races at the end of the sixteenth century, and in northern waters the Dutch had done the most. Shakespeare may have had in his mind the recent discovery of Nova Zembla by a Dutch expedition in 1596. 27. a Brovvnist. Sir Andrew has a special horror of Puritans, as before noted. The sect of Independents or Congregationalists were known also as Brownists, from their leader, Robert Brown, who founded that body in 1581. 27. politician and 'policy' are used with various shades of mean- ing, ranging from ' statesman ' and ' statesmanship ' to ' intriguer ' and 'intrigue', with an obvious connection of ideas. But in any case 120 TWELFTH NIGHT. [Act III. a ' politician ' would have to hi alert-minded; whence Sir Andrew's objection to the tribe. 28. build me: 'me' is the ethic dative, as perhaps in i. 2. 53, "Conceal me what I am", where see note. The usage is very common. C£ Julius Caesar, i. 2. 267, "'he plucked me ope his doublet ". 29. Challenge me. See last note. 31. love-broker, ' agent for love affairs'. 36. curst: not 'accursed' but 'crossed', which has now degener- ated into 'cross'. So in the Taming of the Shrew, "Kate the curst" means ' Kate the cross ', or ' ill-tempered '. 38. if thou thou'st him, ' if you address him as "thou"'. The French have the word tutoyer, which means the same thing. Except in poetical passages, ' thou ' is used only by a superior addressing an inferior, or between intimate companions. This passage has been quoted as showing that the play was not written till after Sir Walter Raleigh's trial in November, 1603, on the ground that it was suggested by the style in which Sir Edward Coke addressed Sir Walter: — "All that he did was by thy instigation, thou viper; for I thou thee, thou traitor, I will prove thee the rankest traitor in England". The other evidence, however, shows that the play was written earlier. 41. the bed of Ware. An immense bed, measuring nearly eleven feet square, at Ware, in Hertfordshire. It is said to have been at the Stag Inn, in Shakespeare's time, and was subsequently at three or four other inns. 48. the cubiculo, 'the lodging'. A corruption of Sir Toby's. 52. oxen and wainropes. Cf. ii. 5. 58, "though our silence be drawn from us with cars ". 54. blood in his liver. The liver was regarded as the seat of courage, and to be ' white-livered ' was to be a coward. 56. his opposite, 'his opponent '. 58. the youngest wren of nine. Nine is the normal number for a brood of wrens, and the last hatched is commonly the smallest. 59. the spleen: here 'a violent fit of laughter'; for which sense cf. Levis Labour's Lost, iii. 1. 77, "By virtue, thou enforcest laugh- ter, thy silly thought, my spleen : the heaving of my lungs provokes me to ridiculous smiling ". The commoner use is in the sense either of ' melancholy ' or ' anger '. 63. passages of grossness, 'gross impositions'. 'Passage' prac- tically = imposition; for which cf. "pass upon", iii. I. 38, note. 65. pedant, 'pedagogue'. 69. the new map: perhaps that which appears in some copies of the 1599 edition of Hakluyt's voyages. See Introduction, p. 9. Scene 3.] NOTES. Scene 3. 8. jealousy what might befall, 'doubt of what might befal'. 15. And thanks, &c. This passage is evidently corrupt. The first Folio omits the words ' Too oft', and the later editions omit lines 15 and 16 altogether. Emendations can only be conjectural, and I have altered the text merely so as to make it possible to read the lines aloud. Theobald's conjecture, on which the present reading is based, was ' and oft '. 16. uncurrent, ' not legal tender'. 20. go see. Cf. i. I. 16, 'go hunt', note. 19. reliques, 'remains', whether referring to old buildings or relics of saints. 24. renown, ' make renowned '. The verb has otherwise dropped out of use. 25. the count his galleys. 'His' is occasionally used as the sign of the possessive case. But here perhaps we should read ' the count; 33. answered, 'compensated'. 36. lapsed, ' surprised '. Scene 4. 5. sad, 'sober'. Cf. " Speak, sad brow and true maid". 46. Thy. Very possibly we should read My\ as Olivia does not know that Malvolio is quoting, and evidently takes the next 'thou' (in 49) as addressed to her. So understood, his remark would of course be the more mysterious. 52. midsummer madness: heat being regarded as a cause of madness. 60. come near me, 'understand me'. 66. consequently, i.e. 'in the words which follow'. 69. Jove's. Possibly a misprint for 'love's'; but much more probably Jove was substituted for the original ' God ' in consequence of the Act for Restraining the Abuses of Players. There are numerous instances of the change. It may be, however, that Malvolio thought it more becoming to adopt the pagan adjurations of the court, in lieu of his previous puritanism. 73. no scruple of a scruple. Malvolio, affecting 'the trick of singularity ', breaks out into unwonted jesting. The pun has already been commented on. 73. incredulous, ' causing incredulity '. 103. bawcock, ' fine fellow '. Fr. beau coq. 106. Biddy, come with me. Probably a snatch of a song. 122 TWELFTH NIGHT. LAct III. 107. play at cherry-pit, 'play a child's game'. Cherry-pit was probably played with cherry-stones, and little holes in the ground or on a board. 118. genius, ' his guardian angel '. 120. take air, i.e. 'become known". 124. The dark room was the standing treatment for madmen. 130. a May morning: May-day being a species of Saturnalia. 138. admire, 'wonder'. Cf. Macbeth, iii. 4. no, 'with most admired disorder \ Note the double negative. 151. on the windy side, 'to windward', the position of advan- tage; but the idea can hardly be taken, as Mr. Wright says, from hunting. If the hunter is to windward the quarry scents him. 151. the law. Perhaps a hit at the ' law of the duello ', with its very subtle distinctions between expressions which did or did not make a fight incumbent. 159. commerce, 'conversation'. But cf. iii. I. 64, 'trade'. 164. approbation, ' convincing testimony '. 177. cockatrices. The cockatrice was a fabulous creature sup- posed to be hatched by a serpent or toad out of a fowl's egg, which could slay by a glance. The name is a corruption of crocodile; through the Spanish forms cocodrillo, cocadriz. 188. 'haviour : the first syllable in many words is occasionally dropped if in ordinary use it is very lightly accented. Cf. note on ' motions ', ii. 4. 17. 190. jewel, used not necessarily of a gem, but of any valuable ornament. It is curious to observe that two such different forms as 'gaud' and 'jewel' have the same origin: Latin gaudium, diminu- tive form gaudiohim; 'jewel' coming through the French joie, joiel. 202. Sir Tobv, rising to the occasion, uses all the unexpected and alarming words that occur to his mind. 205. dismount thy tuck, 'draw thy sword'. 205. yare. 'quick', 'smart': the boatswain in the Tempest is fond of the word. 215. unhatched. 'unhacked': knighted, that is, with an orna- mental rapier, not a blade that had just seen service on the field of battle. 216. carpet-knights were those who received knighthood not for acts of prowess but for mere favour or ' material consideration' as Sir Toby here suggests. 222. conduct. • escort'. 224. quirk, ' humour '. 233. this... office, as to know: we should say 'such' instead of Scene 4-J NOTES. 123 'this': but ' that... .as ' 'this... .as' are common in Shakespeare: and we get also the converse, ' such... which '. Abbott, 280. 233. know, 'learn'. Cf. Ot/iello,x. 1. 117, "go know of Cassio where he supped to-night ". 240. mortal arbitrement. 'decision by the death of one or other'. 249. Sir priest. The title ' Sir' was habitually applied to priests as well as to knights, as readers of Westward Ho will remember. Shakespeare's parsons— Sir Hugh Evans, Sir Oliver Martext, be- have the title, as has ' Sir Topas the curate ' in this play. 250. Exeunt. Dyce suggested that there should be a shifting of the scene to the orchard end, where Sir Andrew was waiting. This would no doubt be in more exact accordance with the plan of the conspirators, but would be less convenient on the stage. 252. firago : doubtless Sir Toby's variation for ' virago '. 253. the stuck, the istoccata^\ see Glossary. 256. the Sophy. Cf. ii. 5. 162, note. 267. take up, 'make up'. Cf. As You Like It, v. 4. 50 — "How was that quarrel ta'en up?" 269. is as horribly conceited, 'has as horrible a conception'. So ' to conceit ' is ' to form a conception ' : e.g. Julius Caesar, i. 3. 162 — " Him and his worth you have right well conceited". 281. the duello, i.e. the laws of the duel, referred to at 182. 292. undertaker, one who undertakes another's business, an agent or a surety ; ' contractor ' is perhaps the nearest equivalent. 297. reins well, ' answers the rein '. Sir Andrew is of course thinking of his offer of " Grey Capilet ". 303. favour, face. Cf. ii. 4. 24, and note. 309. to ask. Cf. i. 1. 16, note ('go hunt'). 319. my having, ' what I have'. 329. vainness, 'boasting'. 337. venerable, 'admirable'. The appropriation of the word to old age is modern. 342. unkind, ' unnatural ' ; wanting in natural feeling, the equiva- lent to the Latin impius. / 352. saws, 'sayings'. 'A couplet or two', because proverbs very commonly take the form of a rhymed couplet. 364. living. It is uncertain whether this is the present participle, or a survival of the infinitive form in -en, 'lwen'=f to live'. See Abbott, S/i. Gr. 349. i24 TWELFTH NIGHT. [Act IV. Act IV.— Scene I. i. will you, 'do you wish to'. The original sense of active wish or intention is very commonly present in the Shakespearean use of ' will ', where we should use it merely as a future. 5. nor I am not, note the Clown's filing up of negatives, ending with a triple negative; as before at iii. 1. 149, where see note. 8. vent, 'utter', ' give vent to '. 12. this great lubber, i\:c. The reading may be corrupt. If not, the Clown must be railing at the affectation overspreading the world, which is vulgar at bottom. 'Lubber' can hardly refer to Sebastian, who must have been of slight and graceful build to be mistaken for Viola; though the sentence might be taken to mean, ' the world will prove this great lubber to be a cockney '. Grant White reads ' lubberly word ' for ' lubber the world ' ; but ' vent ' can hardly be so called. 12. cockney, ' a hanger on of the kitchen '. See Glossary. The word occurs again in Lear, ii. 4. 124, "Cry to it, uncle, as the cockney did to the eels when she put 'em i' the paste alive ". 13. ungird thy strangeness, 'put off your haughtiness'; ex- pressed in this affected way as a jibe at Sebastian's ' vent thy folly '. 15. Greek. The term seems to have been used as equivalent to ' roysterer ' : the proverbially merry ' grig ' seems to be derived from it. 20. fourteen years' purchase, i.e. purchase at the price of fourteen years' returns ; from which it is clear that this was a high rate for the purchase of land in Shakespeare's day, though it would be low now. 27. come on, 'come away'. Sir Toby evidently seizes Sebas- tian, and is not challenging him to ' come on ' and fight him instead. 29. an action of battery, ' an action for assault and battery ', i.e. beating, from French baltre. 34. fiesh'd, 'you have tasted enough blood'. 36. tempt, ' try '. 38. malapert, ' saucy '. 45. rudesby, 'ruffian'. Cf. Taming of the Shrew, iii. 2. 10, "A mad-brain rudesby, full of spleen". 47. extent, 'attack', a legal term. Cf. As You Like It, iii. I. 17— " Make an extent upon his house and lands ". The full legal term is ' a writ of extendi facias '. 53. heart, the play upon ' heart ' and ' hart ' is a favourite one. Cf. i. I. 17, and note. 56. Lethe, the river whose waters bring forgetfulness : one of the four rivers of Hades. Scene 2.] NOTES. 125 Scene 2. 7. to be said, * to be called ;. 9. competitors, 'confederates'. Cf. Tzco GetitUmcn, ii. 6. 35, " myself in council, his competitor". 13. Gorboduc. The play of King Gorboduc appeared in 1565; but the monarch's niece is mythical. Xor is it necessary to identify the hermit of Prague. 13. clerestories, a row of windows high up : the term is familiar especially in church architecture. 46. constant, 'consistent', 'reasonable'. 47. Pythagoras, the reference is to the doctrine of transmigration of souls. 60. I am for all waters, 'nothing comes amiss'. It has been suggested that the Clown is playing upon his assumed name of ' Topas ', and means that he can support the character of any jewel. 67. the upshot, 'the conclusion', 'the final shot'. 6g. Hey Robin, &c, the Clown sings a couple of stanzas from a popular song, which may be found in Percy's Reliques. 72. perdy, a corruption of Par Dim. 82. besides, 'beside'. 82. five wits, on the analogy of the five senses. Cf. — " Alone and warming his five wits The white owl in the belfry sits ". 87. propertied, ' treated me like a property, or chattel '. 90. advise you, 'be careful'. From here to 96 the Clown is sometimes himself, sometimes the imaginary Sir Topas. 98. shent, scolded. 117. Vice. This is a reference to the old 'morality' plays, in which the devil appeared ; the ' Vice ' treated him very much as 'harlequin' treats 'pantaloon' in the modern pantomime'harlequin- ade, which is in fact a survival of these plays. Cf. Henry V., iv. 4. 75, "this roaring devil i' the old play, that every one may pare his nails with a dagger ". Scene 3. 6. credit, ' belief'. 12. instance, 'example'. 21. deceivable. the passive form for the active 'deceptive'. Cf. so again at Richard II. , ii. 3. 84, ' whose duty is deceivable and false'. Cf. 'reverberate' for 'reverberant', i. 5. 254, and note. 24. chantry, private chapel. 126 TWELFTH NIGHT. [Act V. 26. Note that this ceremony is not an actual marriage, but a formal betrothal which was held binding. 29. whiles, ; until \ 29. come to note, ' be made known '. 30. what time, ' when '. Act V.— Scene I. 17. profit, either 'I gain advantage by knowing myself, or 'I become proficient in knowledge of myself. 18. conclusions to be as kisses: 'if the logical conclusion follows from bringing the two premisses together, as kisses follow from bringing two pairs of lips together'. Carrying it farther, the four negatives making two affirmatives correspond to the two pairs of lips. 28. your grace, 'since by grace a man resists evil counsels, and natural inclination makes him follow them, never mind grace but follow my ill counsel '. 29. it, the ill counsel. 30. so much to be, for ' as to be '. For the omission of as, cf. ii. 2. 10, "That you be never so hardy to come"'. 33. triplex, triple time. 34. St. Bennet. The church of 'St. Bennet Hithe', Paul's Wharf, was just opposite the Globe Theatre; hence probably the allusion here. But the reference may be to some popular melody. 37. throw, 'cast of the dice', 'this turn in the game'. 48. bawbling, 'a small craft'. The term 'bauble' was used much as we use ' cockle ' for a vessel that could not face rough weather. The word is familiar to us as used of things of more show than worth. For the special sense, cf. Cy?nbeline, iii. 1. 27 — " His shipping. Poor, ignorant baubles, on our terrible seas Like egg-shells moved upon their surges crack'd As easily 'gainst our rocks." There are two separate words which have become confused. See Glossary. 49. unprizable. either (i) worthless, of no value; or (2) which could not be captured (because it could pass where ships of greater draught could not); or (3) above price, invaluable, as the light Eng- lish craft had proved to be against the great Spanish galleons. The first meaning is on the whole most probable, as implying more brilliant courage and skill on the part of the captain. The Duke would hardly have used the contemptuous term 'bawbling' if he was going to call the same ship ' invaluable' in the next breath. Scene i.] NOTES. 127 50. scathful, ' harmful '. 51. bottom, 'ship'. Cf. Merchant of ' Venice, i. 1.42, "My ven- tures are not in one bottom trusted ". 52. the tongue of loss, 'the voices of the losers'. 55. fraught, 'freight'. So Othello, iii. 3. 449, "Swell, bosom, with thy fraught ". 55. Candy, ' Candia ' or ' Crete'. 58. desperate of shame and state. ' reckless of disgrace and of his plight '. 65. dear, ' costly'. 85. recommended, 'intrusted'. 93. Three months. This is a rather material slip. In act i. V scene 4 Viola had only been three days with the Duke; Antonio and Sebastian appear in Illyria, either on the same day or the next morning — the former if ii. I is in its right place; the latter if Antonio's statement at 84-86 is to be accepted. Act ii. scene 4 is the next morning, and all the remaining events take place on the same day. 93. tended, 'attended'. Cf. 'praise' for ' appraise ', 'haviour' for 'behaviour', &C. See note on 'motions', ii. 4. 17. 103. fat and fulsome, 'nauseating'. 107. ingrate, ' ungrateful '. The word occurs several times in Shakespeare; now it is used not as an adjective, but only as a sub- stantive. 108. hath, the Globe reading. The Folios read have, and very probably that is what Shakespeare wrote, the verb being attracted to the number of ' offerings ' which intervenes between it and the singular verb. Cf. Julius Caesar, v. 1. 33, "The posture of your blows are yet unknown ". 112. the Egyptian thief. The reference is to the story of Thea- genes and Chariclea, told in the Ethiopica of Heliodorus, of which a translation had been issued in 1568, and a second edition, 1587. Theagenes and Chariclea were captured by the Egyptian Thyamis, who fell in love with the lady, and being thereafter in danger of being taken and slain, attempted to kill her first. 114. hear me this. 'Me' may be regarded either as the ethic dative, or as object, with 'this' as a second object. Cf. i. 2. 53, " Conceal me what I am " and note, where precisely the same alter- native constructions are admissible. 117. screws, ' twists'. 119. minion, 'favourite'. Fr. million. 126. apt, ' ready '. 132. tainting, ' corruption ', a verbal noun, hence followed by 'of. Cf. As You, Like It, ii. 4. 49, "I remember the kissing of her batlet ". The usage, however, is by no means obsolete, though 128 TWELFTH NIGHT. [Act V. commonly the verbal force survives, and an accusative follows. See Abbott, SA. Gr. 93. 135. forgot, this form is commoner in Shakespeare than 'for- gotten', just as we have 'writ', 'took', 'shook', for 'written', 'taken', 'shaken', and the like. Cf. i. 4. 20, note on 'spoke'. 141. strangle thy propriety, 'suppress your identity', 'pro- priety', deriving this sense from ' proper '=' own ', ' proper-self' = 'owii self. Cf. Othello, ii. 3. 176— " it frights the isle From her propriety". 153. interchangement. This was the old practice. The rule of the bride only wearing a wedding ring was an innovation. 154. ceremony. This word in Shakespeare is almost always scanned as a trisyllable; it would be admissible to read 'cere-mony', but the frequency of its occurrence makes it -probable that 'cere' is pronounced as a monosyllable, as in ' cere-cloHr5. But in Julius Caesar, i. 2. II, ' Set on and leave no ceremony out ", the word is clearly a quadrisyllable. See App. B, § 6 (iii.). 154. compact, always accented on the last syllable in Shake- speare. 155. in my function, 'in my official capacity' as a chaplain. Cf. iv. 2. 8, "I am not tall enough to become the function well". 159. case, the hunter's term for the skin of beasts of chase. 165. little, 'some little', 'a' being dropped, as at ii. 5. 123, where see note. 174. incardinate; Sir Andrew would say ' inca/nate '. 184. halting, ' lame'. 185. other gates, 'another way'; 'gait' or ' gate '=' way' is familiar in the north country. 191. set, i.e. ' closed '. 192. passy measures pavin: first Folio, pauyn. Sir Toby is so exceedingly drunk that it is hardly necessary to find a meaning in this unintelligible term of abuse. But seeing that Sir Toby in his cups is given to talking of dances, and before called Malvolio 'Peg- a-Ramsey', which is the title of a song, he may have intended here to say ' passamezzo pavin ', a slow dance, meaning that ' Dick surgeon ' is a dignified fraud. In any case it may be assumed that 'passy measures' is an attempt at 'passa mezzo ' = slow-going; and we may either leave ' panyn ', or substitute ' pavin' (as in the text) or ' panym ' = 'pagan', a common enough word, though not found in Shakespeare. 204. a strange regard, 'a distant or shrinking look'. Cf. "ungird thy strangeness", iv. 1. 13. 207. so late ago, a confusion of 'so lately', and 'so short a time ago'. Scene i.] NOTES. 129 209. natural is scanned as a dissyllable; and perspective has the accent on the first syllable, as always in Shakespeare. " 209. perspective. A 'perspective' was an arrangement of re- flecting glasses, which presented a multiplicity of pictures unless looked at from a particular angle, when a single image was seen. Cf. Richard II., ii. 2. 18 (where 'rightly' means 'at right angles')— "Like perspectives which rightly gazed upon Show nothing but confusion, eyed awry Distinguish form". 220. of here and everywhere, ' the power of being in two places at once'. 226. suited, 'dressed'. 229. dimension, ' bodily form'. 238. record. Accent on the second syllable, so usually, but not always, in Shakespeare. We accent the noun 'record', the verb ' record ', and so with many like words. 241. lets, ' prevents'. 244. do; after ' each circumstance' the verb should be singular, but the subject is forgotten in the series of intervening words, 'place, time, fortune \ 244. jump, 'agree ', as in the familiar proverb, 'Great wits jump'. So 'jump' is used as an adverb = exactly. Cf. / Henry IV., i. 2. 78, " It jumps with my humour ". 247. weeds, 'garments'. 251. mistook, for 'mistaken'. Cf. i. 4. 20, note on 'spoke'. 252. to her bias drew, a phrase from the game of bowls. 256. right noble. The Duke had known the elder Sebastian, i. 2. 28. 263. that orbed continent. The natural interpretation of this is, 'As the sun does the fire which keeps day from night'. But since the sun is spoken of as 'the fire', the 'orbed continent' may mean the firmament which holds the sun. 267. upon, ' in consequence of '. 270. enlarge, ' set at large '. 271. remember me. 'Remember' was still commonly used reflexively. 272. distract. With verbs ending in -/, -te, or -d, the termination -ed of the participle is often dropped. Cf. note on i. 1. 26, ' heat'. 273. extracting, 'absorbing', 'drawing, me away from all else'. 279. it skills not, 'it makes no difference'; from the Icelandic skilja, ' divide '. ' discern '. 282. delivers, ' reads his message '. ( m 38 ) I ISO TWELFTH NIGHT. [Act V. 286. vox, i.e. the appropriate tone. It is evident that Feste has begun reading in character, as Malvolio's words would hardly account for Olivia's mistrust of the Clown's reading. 288. 'I am reading in my right wits; but to read Malvolio's right wits, one must assume the madman'. 289. perpend, 'weigh', ' consider carefully '. a bombastic word used by Pistol and Touchstone, and also by Polonius. 305. ' To think me as desirable a sister as wife.' 306. The alliance on 't: • on V, i.e. ' of the double marriage ' is not strictly grammatical. 307. my proper cost, 'my own personal expense', as with the French propre. 308. apt, ' ready '. 320. from it, -unlike it". 325, 326. bade me come. ..to put on, &c Note 'bade' fol- lowed by the verb first without and then with 'to' in the same sen- tence, and cf. note on i. 1. 16. 336. geek, 'dupe'. Early English name for a 'cuckoo', surviving in some parts of the country in the form 'gowk'. 338. such... which, converse of 'that. ..as'; in olace 'such as' and 'that which'. Abbott, Sk. Gr. 277, 278. 340. pass'd upon, 'outwitted'. 344. Note here (1) the double negative, (2) the use and omissiory of ' to : in the same sentence. 349. ' On account of a stubborn discourtesy which we perceived in him, to his discredit.' 350. writ, for 'wrote', the commoner form in Shakespeare. 351. importance, 'importunity'. Fabian presumably wishes to shelter Maria behind Sir Toby. Cf. John, ii. I. 7, "At our importance hither is he come". 'Important' in the sense of 'importunate' occurs several times. 352. hath married her. It is of no consequence that the events have allowed no time or opportunity for this to have taken place. Time and opportunity are freely disregarded. Sir Toby appeared in this scene with a broken head; but Sebastian had not broken it when they met, and the knight had since been to listen to Feste playing Sir Topas. To make matters straight we should have to suppose that, on parting from Olivia, Sebastian had had a second meeting with the knights; but then Sir Andrew had already had one all-sufficient lesson. The simple fact is that these inconsistencies would pass without notice on the stage, and Shakespeare was. not inclined to spoil a stage effect for the sake of precision in detail. 363. whirligig, a toy wheel. Time's whirligig is like Fortune's Scene i.] NOTES. 131 wheel. Those who are at the top to-day may be at the bottom to- morrow. 369. convents. It is quite possible that ' convents ' here means 'suits', which would accord with its derivation and with the use of the cognate word ' convenient '. In all other passages where it occurs, however, it means 'summon', being equivalent to 'convene'. 376. It is quite uncertain how much, if any, of this song is Shake- speare's. The refrain was probably common, and we have it again in Lear, iii. 2. 75. Cf. note on the Clown's songs at ii. 3. 48. Of course it is possible to maintain, with Knight, that the song is pro- foundly philosophical, but most of the philosophy has to be imported into it. APPENDIX A, SHAKESPEARE AND PURITANISM. The play of Twelfth Night contains some direct references to the Puritans, and to particular sections of the more extreme religious reformers : while the character of Malvolio is frequently supposed to have been drawn as a deliberate attack upon the Puritans. The party had learnt their rigid tenets in the stern school of persecution ; from an attitude of dogged endurance they were rapidly advancing to one of direct aggression ; and long before Twelfth Night was written they had begun to make active war upon sports and pastimes gener- ally, and upon the stage in particular. As a natural consequence, the works of the Elizabethan play- wrights are full of allusions to and attacks upon them ; the asceticism and rigour of the new religion being essentially opposed to the imaginative freedom and the pagan latitude which marked the intel- lectual movement of the day. Nevertheless, it is remarkable that except in this play there are very few references to the Puritans discoverable in Shakespeare ; and it appears to me that what we find in Twelfth Night fully bears out the view that the poet regarded these bitter enemies of his craft with a large good-humoured tolerance ; and if he mocks them in the person of Malvolio, it is to smile at their extravagances, not to lash their supposed vices. We must always be on our guard against fancying that when the dramatist puts a phrase into the mouth of one of his characters, he is giving utterance to a serious opinion of his own. I have commented on this point in the notes, with reference to certain speeches of Orsino. But if Orsino must not be regarded as Shakespeare's mouth- piece, still less are Sir Andrew and Maria to be regarded as serious exponents of his views. It is Sir Andrew who "had as lief be a Brownist as a politician"; and who desires to "beat Malvolio like a dog " for being a Puritan — a reason which even Sir Toby and Maria appear to regard as inadequate. In fact, the passages where Puritan- ism is directly referred to seem to satirize its detractors quite as much as its professors. Moreover, if we study Malvolio himself, we find that he is by no means an example of that malignant type which might have been drawn by an angry opponent. He is not held up to fierce contempt, as in a later day Burns held up the ' unco guid ' of his own society. He is not an unctuous knave with scripture on his lips and lies in his heart. On the contrary, he is an extremely worthy but misguided APPENDIX B. 133 person, whose supreme vanity topples him headlong into the snare which his enemies have laid for him; an eminently suitable subject for a practical joke, but assuredly not a villain. At all times and in all ages, the vice of Puritanism is hypocrisy; but the weakness which lures Malvolio to his downfall is vanity. That Shakespeare himself was no Puritan is sufficiently obvious. The zest with which he depicts a Falstaff or a Sir Toby would be impossible to a man who held ascetic doctrines — indeed it might be said that no man could be at once a genuine Puritan and a genuine humorist. His own powers of enjoyment were far too keen to allow him to sympathize with those who held that because they were virtuous there should be no more cakes and ale. But he was far too large-minded to be beguiled by professional feeling into an attitude of angry animosity to a movement which, despite its exaggerations and excesses, embodied a sincere and genuine effort to realize a lofty though circumscribed ideal. Of Puritanism as a religious movement he has nothing to say: he is content to make us smile at its absurdi- ties as a scheme of human conduct. In the one accepted Puritan of his creation, he has drawn not a dangerous fanatic, not a self-seeking hypocrite, but a formalist, whose vanity is nearly as pathetic as it is absurd. APPENDIX B. OUTLINE OF SHAKESPEARE'S PROSODY. § 1. Metre as an indication of Date. English blank verse did not come into use till the sixteenth century: and at the commencement of its career, the rules which regulated its employment were strict. It was only when the instrument was be- coming familiar that experiments could be ventured upon, and varia- tions and modifications freelyintroduced. The changes in the structure of blank verse between the time when Shakespeare commenced writing and the time of his retirement are great ; and the variations in this respect are among the most important indications of the date of any given play. That is to say, broadly speaking, the less strictly regular the metre, the later the play. In the same way, a gradually increasing disregard of other kindred conventions marks the later plays as compared with the earlier. A good deal of rhyme survives in the dialogue in the earlier plays; later it is only to be found occasionally at the close of a scene or a speech, to round it off — probably a concession to stage tradition analogous to the similar use of ' gnomae ' in Greek plays, and of a 'sentiment' in modern melodrama. The first use of prose is only for purposes of comedy; later, it is used with comparative freedom (as in Hamlet) in 134 TWELFTH NIGHT. passages of a very different type, though the introduction of verse in a prose scene always marks a rise to a higher emotional plane. In the present play, which belongs to the middle period, all these characteristics are in the stage of development which betokens the middle period. § 2. Form of Blank Verse. Our study of versification is commonly restricted to that of Latin and Greek. When we examine English verse-structure, a distinction at once appears. In the classical verse the governing element is quan- tity; in English it is stress. And inasmuch as stress is much less definite than quantity, the rules of English verse cannot be given with the same precision as those of Latin and Greek. But we may begin with certain explanations as to what stress is not. A 'stressed' syllable is not the same as a long syllable ; nor is stress the same as rc«.r£- emphasis. Any strong or prolonged dwelling of the voice on a syllable, for whatever reason, is stress. So, while a syllable must be either long or short, there are many shades of gradation between the unstressed and the strongly stressed. And as in Greek tragic verse a long syllable may, in certain positions, take the place of a short one, so a moderately stressed syllable may often in English take the place of an unstressed one. To start with, then, — to get at the basis of our metre — we will take no account of weak stress, but treat of all syllables as if they must either have no stress or a strong stress; and throughout, the word stress, when used without a qualifying adjective, will mean strong stress. The acute accent (') will be used to mark a stress, the grave (') to mark a weak stress, the a to mark a syllable sounded but not stressed. The primary form of the Shakespearian line is — five feet, each of two syllables; each foot carrying one stress, on the second syllable; with a sense pause at the end of the line. Hath kill'd' J the flock' \ of all' | affec' | tion else' (i. i. 36). § 3. Normal Variations. But if there were no variations on this, the effect would be mono- tonous and mechanical after a very few lines. (i) The first variation therefore is brought about by the stress in one or two of the feet being thrown on the first instead of the second syllable, which is known as an 'inverted' stress. O', it came o'er' | my ear7 | like' the \ sweet sound' i. 1. 5 • The like ' of him; | know'st' thou | this count' | ry' (i. 2. 21). Observe that the stress is thus thrown back much more commonly in the first foot of the line than elsewhere: and that in the other cases the stressed syllable usually follows a pause. APPENDIX B. 135 (ii) Secondly, variety is introduced by the insertion of an extra unstressed syllable which is not extra-metrical, analogous to the use of an anapaest instead of an iambus. Let me speak' a lit' | tie. This youth' j that you I see here (iii. 4. 333). As a general rule, however, such extra syllables are very slightly pronounced; not altogether omitted but slurred, as very often happens when two vowels come next each other, or are separated only by a jiquid (see § 6, v, \ ii). (iii) The converse of this is the (very rare) omission of an unstressed syllable. This is only found where the stress is very strong, and the omission is really made up for by a pause. This play contains no distinct example. (iv) Extra-metrical unstressed syllables are added before a pause, sometimes in the middle of a line. E'er since ' pursue (me). How now! | what news | from her? (i. 1. 23). In this play, examples are extremely numerous, chiefly when a speech begins in the middle of a line. Very frequently an extra-metrical syllable comes at the end of a line, and this is fairly common in this play. It is only in quite early plays that it is at all unusual, only in the later ones that it is actually habitual. For I ! can sing, And speak I to him | in man | y sorts | of mu(sic), That will allow me ve ry worth his ser(vice) (i. 2. 58). By an extension of this practice we sometimes have two such extra- metrical syllables : That do I renown this ci | ty. Would you'd par(don me) (iii. 3. 24). The increasing frequency of extra-metrical syllables is a useful approximate guide to the date of a play. But they are never so frequent in Shakespeare as in some of the younger dramatists. (v) The variation which perhaps most of all characterizes the later plays is the disappearance of the sense-pause at the end of the line. At first, a clause running over from one line to the next is very rare: in the last plays it is extremely common. (The presence of a sense- pause is not necessarily marked by a stop ; it is sufficient for the purpose that the last word should be dwelt on ; the pause may be merely rhetorical, not grammatical.) In this play, the sense-pause is a good deal the commoner, but over-running is far from rare. g 4. Weak Stresses. The basis of scansion being thus settled, we may observe how the rules are modified by weak or intermediate stresses, which are in fact the chief protection against monotony. 136 TWELFTH NIGHT. (i) Lines in which there are not five strong stresses are very plenti- ful; e.g. r pri' I thee\ and | I 'II pay' | thee boun teously' (i. 2. 52). In the fifth foot particularly, the stress is very often extremely slight. (ii) On the other hand, lines in which there are two stressed syllables in one foot are not rare. But falls' | in'to abate' menf and low' price' (i. 1. 13). O' Time'! | thou' must ; un'tang' | le this', . not I' (ii. 2. 38). A foot with a double stress is nearly always preceded by a pause, or by a foot with a very weak stress only. (iii) It will be observed that there are never fewer than three strong stresses; that any foot in which there is no strong stress must at any rate have one syllable with a weak stress: and that very often such a foot has two weak stresses ; preventing the feeling that the line is altogether too light. Thus a syllable which is quite un- emphatic acquires a certain stress merely by length, as in some of the above cases. And, speaking broadly, a very strong stress in one foot compensates for a weak stress in the neighbouring foot. § 5. Irregularities. (i) Occasionally lines occur with an extra foot; i.e. an additional stress after the normal ten syllables. That ty I rannous heart | can think? To one of your receiving (iii. 1. 109). But this does not often occur in the course of a speech, and when it does there is usually a break in the middle of the line, as in this instance. It is, however, decidedly common in broken dialogue. OIL What ho, Malvo | lio ! Mai. Here, ma | dam, at your service (i. 5. 281). And this is probably often to be explained by the second speaker breaking in on the first. (ii) Short lines occur chiefly at the beginning or end of speeches : and in dialogue, a remark which is out of the metre is sometimes interpolated; e.g. in ii. 4. 87. 104. (iii) As a general rule in the plays, these short lines occur with frequency only in hurried or excited dialogue. Their purpose is not to give variety to the metre, but to produce a dramatic effect of hurried interruption or anxious pause. Sometimes the blank is filled by action on the stage, or by music. In some of the plays, such short lines are sometimes almost certainly due to the mutilation of the text, passages having been cut out for stage purposes. (iv) Interjections and proper names (especially vocatives) are frequently extra-metrical. Do give thee five j fold blaz \ on: not \ too fast:' ] soft ! soft ! (i. 5. 275). APPENDIX B. 137 (v) Similarly after a pause an extra-metrical interjection may come in the middle of a line. And that I owe Oli [ via. (Ay) but | I know (ii. 4. 103). In nearly every instance observe that the unusual stress comes either after a pause, whether at the beginning of a line or in the middle ; or at the end of a line in which there is a break. jj 6. Apparent Irregularities. (i) Difficulties occasionally arise from the fact that words in Shakespeare's day were sometimes accented in a different way from that of the present day, and sometimes even bear a different accent in different places in Shakespeare's own writing. Thus we say 'as'pect', Shakespeare always 'aspect". On the other hand, we say 'complete", Shakespeare has sometimes 'complete", sometimes ' com'plete '. In effect we must often be guided by the verse in deciding on which syllable of a word the accent should fall, because custom had not yet finally decided in favour of a particular syllable. Speaking broadly, the tendency of modern pronunciation is to throw the accent far back. On the other hand, however. Shakespeare has ' perspective ;, we say ' perspective '. (ii) Similarly, when two vowels come together (as in words end- ing with -ton, -ins, -ions, and the like) we are in the habit of slurring the first, and sometimes of blending it with the preceding consonant ; so that we pronounce ' ambit-i-on ' ' ambishon '. In Shakespeare the vowel in such cases is sometimes slurred and sometimes not, in the same word in different places ; usually the former in the middle of a line, often the latter at the end. In such cases we must be guided simply by ear in deciding whether the vowel is slurred or sounded distinctly. And we have to decide in exactly the same way when we are to sound or not sound the terminal -ed of the past participle. Thus we have in consecutive lines — But in I conclu \ sion put ! strange speech upon me; I know I not what | 't was but ciistrac | tion. (v. 1. 61). (iii) So again in a particular word, a syllable seems to be sometimes sounded, sometimes not. Thus in. Julius Caesar (i. 2. 11), "Set on, and leave no ceremony out", ' ceremony' is a quadrisyllable, as it is in Henry V.t iv. I. 269; but since in every other case it is scanned as a trisyllable, the 'cere' was probably as a rule pronounced as in ' cere-cloth '. (iv) In a large number of words where a liquid (/, m, ;;, and especially r) comes next to another consonant, an indefinite vowel sound is sometimes introduced between the two letters (just as now in many places one may hear the word 'helm' pronounced 'helium'), which may be treated as forming a syllable; e.g. at i. I. 32 'remem- brance' is pronounced almost ' rememberance ', and at i. 2. 21, 'country' is 'count(e)ry'. 13S TWELFTH NIGHT. (v) Conversely, a light vowel sound coming next a liquid is often slurred and in effect dropped; so that such words as spirit, peril, quarrel, are often practically monosyllables. (Hence such a form as 'parlous' =' perilous'). Thus we have ' nat(u)ral ', 'comp(a)ny*, ' tyr(a)nnous5, ' min(u)te \ (vi) As the sound of/, /, /;/, ;/, r, s, ;/^can be held out, we occasion- ally find them before a pause, and especially at the end of a verse, treated as equivalent to an extra syllable. In this play, however, I have noticed no instances. (vii) th and v between two vowels are often almost or entirely dropped and the two syllables run into one: as in the words 'whether", 'whither", 'other', either", 'ever*, 'never', 'even*, 'over". 'Heaven*, 'even' generally, 'brother', 'father' sometimes, are treated as monosyllables. Vowels separated by a w or an h are habitually slurred and pro- nounced practically as one syllable. (viii) ' Fire ' and similar words which in common pronunciation are dissyllables ( 'fi-er', kc.) are commonly but not always scanned as monosyllables. So 'dear', "where", 'fare', &c, are occasionally dissyllables. If L 5. 237 stands, 'tears' should probably be scanned in the same way. With ad ora tions, fertile tears' . And in the like manner at iv. 2. 28 : May live | at peace. | He shall conce al it, 1 conceal ' appears to be trisyllabic. (ix) Other ordinary contractions, such as 'we'll' for 'we will', tk' for the before a vowel, &c, though not shown in the spelling, are frequent. GLOSSARY. accost (i. 3. 45; iii. 2. 18), 'come alongside of. Lat. cos/a, 'a rib'; cf. ' coast'. address (i. 4. 14), 'direct'. Hence (2) the common Shake- spearian use, 'prepare' and (3) the modern elliptical use =" ad- dress one's speech". admire (iii. 4. 138), 'wonder': Lat. admirari. The further idea of approbation conveyed in the modern use of the word is not necessarily implied (though it fre- queptly is) in Shakespeare. advance (ii. 5. 28), 'raise'; of a bird raising its crest. So to "advance a banner" means to ' raise ' it, not to ' march forward with it'. affect (ii. 5. 21), ' feel affection for', ' feel well affected to '. affection (i. 1. 36), ' inclina- tion'. affectioned iii. 3. 134), 'full of affection'; but here 'affection' has the other sense which we find in the word 'affected', and express by 'affectation'. allow (i. 2. 59), ' cause to be acknowledged', from the sense 'acknowledge, approve'. The word also has the sense ' assign '. These two senses are both found in the O. F. alhuer, from which 'allow' is derived: their origin being respectively in Lat. allau- dare (laus, ' praise'), and allocare {locus, 'place'). and, an (passim) — ' \{\ The same word is used for the con- ditional conjunction (enda) in Scandinavian: hence this use of ' an ' or ' and ' is regarded by Pro- fessor Skeat as of Scandinavian origin. Dr. Abbott, however, holds that it is not a conditional particle but merely the copula, the 'condition ' being contained in the following subjunctive. Since the employment of a conditional par- ticle came to be demanded by usage, it was erroneously supposed that the copula preceding a sub- junctive was a genuine conditional particle. Hence the practice of spelling it 'an', and treating it as a different word from the copula. Sh. Gr. 102, 103. anon (passim), 'at once', softened to 'before long'. 'Pre- sently' has gone through precisely the same softening process : in Shakespeare it means ' immedi- ately'. Der. A.S., on, an ' in one moment'. answer'd(iii.3.28,33'>, 'atoned'. O. E. andsicarian, 'counter-affir- mation in reply to an accusation': hence (1) 'defence'; (2) 'compen- sation'; (3) 'reply'. antique I ii. 4. 3) , 'old-fashioned ' , implying quaintness as well as mere age. In the secondary form 'antic', the idea of age is lost. approbation (iii. 4. 164), 'con- vincing testimony '. So ' approve ' has two senses : ' put to the test ' and 'commend' (as having been tested successfully). Lat. appro- bare. apt (i. 4- 34>, 'fit'; (v. 1. 126), 'ready'. Lat. apt us, 'fitted'. argument (iii. 3. 32), 'subject ot debate'. Lat. argumentum (1) 'proof; hence (2) 'discussion'; (3} 'subject'. We have dropped 140 TWELFTH NIGHT. (x), and (3) only survives in speak- ing of the ' argument ' of a play or poem. aught (v. 1. 102), 'anything', a contraction from O. E. a-rciht, otherwise familiar as ' a whit ' (so now always with a negative). back-trick (i. 3. ioq\ a dancing step, probably a backward spring. baffle (ii. 5. 140), 'make con- temptible'. A word of Scandi- navian origin. Used specifically of a punishment applied to recreant knights, of hanging them up by the heels. balked (ii. 2. 21), 'hindered', by putting a 'balk', i.e. a bar, ridge, or heap in the way. barful (i. 4. 40), 'full of diffi- culties or impediments'. barricado (iv. 2. 33). From the same origin as 'bar', 'barrel', ' barrier ' — Celtic, according to Professor Skeat. This form is Spanish 'barricada', primarily a rampart made with barrels (bar- rua >. bawbling (v. 1. 48), 'rickety'. 'Bauble' has two sources: (1) Ital. babbola, 'toy', an onomato- poeic word, formed much like 'baby' and 'babble'. (2) bablen | M.E.i, 'swing' Icf. bob, bobble); hence , ' learn by heart'. Connected with 'can', ' ken '. conceit (iii. 4. 3221, 'opinion', ' conception ' ; hence in modern use an unduly high opinion of oneself. Lat. concipere, concep- tum. coranto (L 3. 1141, 'a lively dance'. Der. Lat. currere, 'run'. county (i. 5. 2831, a variant for 'count', Fr. conte. Cf. Merchant '. of Venice (i. 2. 491: ' ' Then there is the County Pala- tine ", and the song in Scott's Quentin Durward: " Ah ! County Guy, the hour is nigh ". cousin L 3. 4, &c. ). used gener- ally of near relations, uncles, nieces, &c, as well as of the children of the same grandparents. coystrill (i. 3. 571, 'knave'. The origin is not very clear. It seems probably to come from cous- tellier, lit. 'a knife-man', i.e. a groom who carried a poniard, from couteau, coutel, 'knife'. Hence ' camp-follower'; the signi- fication becoming gradually de- graded as with 'knave' itself.' The name ' costeraux' was, however, applied to certain French banditti, and the two words may have been confused. cozier (ii. 3. 82 1. A 'cozier' or ' botcher ' stood to a tailor as a cobbler to a shoemaker ; mending, patching, and cobbling being in- ferior branches of the craft. Hence a term of contempt. crowner (i. 5. 1241, 'coroner'; primarily an officer appointed by or to represent the crown. Lat. corona. cunning (ii 2. 201. 'craft', 'knowledge'. A. S. cunnen, ' know', whence also ' ken '. curst (iii. 2.36),' sharp', 'cross'; not 'accursed'. A person who was ' curst ' was one with a ' cross or ' crossed ' temper, ' curst ' being (probably 1 a corruptionof 'crossed . Der. Fr. croix, Lat. crux. The verb to 'curse' has a different source, A. S. cursian iv. 1, curs, ' imprecation '. cut (iv, 3. 203), 'jade', 'hack'. As a 'cur' is a ' curtal dog', i.e. a dog with a docked tail, a ' cut ' is a 'curtal horse', i.e. a horse with a docked tail; ' cur ' and ' cut ' alike being abbreviations of 'cur- tal', the der. being Lat. curtus, short. Professor Skeat, however, gives a different source for 'cur', and there may very possibly have been a confusion between ' curtal ' and 'cut-tail'; the ordinary verb ' cut ' = ' shorten ' being of Celtic origin. cypress (ii. 4. ^2: iii. 1. no), rom the cypress tree, (2 press lawn. In the first passage, both renderings have supporters : (1) being further subdivided into («) sprays of cypress, as a mark of mourning, (/3) a coffin appropri- ately made of cypress wood is open to the objection that the shroud is called white three lines later, and therefore ' sad ' is an in- appropriate epithet. N or does the reference to ' yew' in the same line quite agree with (1 «). In the second passage cypress clearly means cyprus-lawn (spelt ' cyprus' in Autolycus's song, Winter's Tale). The name is probably due to the material having been manu- factured, or at any rate purchased, in Cyprus — the evidence pointing to manufacture there. (Cf. 'dam- ask ' from Damascus. ) It has, however, been held that cyprus is corrupted from 'cipre', itself a cor- GLOSSARY. H3 ruption of ' crape '. Fr. creper. Lat. cri spare, 'crinkle'. See the note at ii. 4. 53. dear (v. 1. 65), 'costly'. A. S. precious '. deceivable (iv. 3. 21), decep- tive'; the passive form used for the active. See note. deliver ii. 5. 192; iii. 2. 50), 'pronounce'; (v. 1. 299), 'deliver the madman' = 'pronounces the madman's message'; (v. 323), 'set free ', the primary meaning. Lat. deliberare, ' set free ', hence to deliver out of one's own keeping; hence ' to give to another ' , or 'to impart '. denay (ii. 4. 124), 'denial'. Found also as a verb, 2 Henry 1 7. , i. 3. 107, "Then let him be de- nayed the regentship ". diet (iii. 3. 40)., 'food'. Gr. dishonest (i. 5. 37), 'loose', ' irregular in conduct '. The spe- cific sense is commoner with the positive ' honest '. So in the Vicar of Wakefield Mrs. Primrose con- sidered that Olivia was ' made an honest woman ' when the mock- marriage turned out genuine. distempered (i. 5. 84), ' out of gear'. ducat , 'trifles'. Fr. quelque chose. knave (ii. 3. 59, &c), 'rogue'. Properly ' boy ' or ' sen-ant ' ; but the meaning degenerated, as with ' varlet ' , from ' valet ' ; cf. ' coy- strill', supra. Der. O.E. cnafa, Ger. knabe. The word, however, appears to have been of Celtic ] origin, and adopted by the Ger- , man races from the Celtic captives, who were employed as slaves. lapsed < iii. 3. 36), ' taken off guard', 'caught tripping'; from Lat. labor, lapsus, 'slip'. leasing (L 5. 39), 'lung'. lets iv. 1. 241), 'prevents'. First, 'let' = 'allow', 'let alone'. Hence 'late' = («) 'neglected', the: 'slow': hence 'let' = ' make late', 'hinder'. lief (iii. 2. 27). 'I had as lief = ' I should like as much ' ; from ' lief ' = dear, Ger. lieben, ' to love '. list « iii. 1. 65), 'goal', 'limit'; properly, the 'fringe' or 'border' of a piece of cloth (Scand ). Lists for a tournament appears to have GLOSSARY. US a different origin, Low Lat. liciae, ' barriers '. malapert (iv. 1. 38), 'saucy'. Fr. mat, afperi, 'ready'. maugre (iii 1. 141), 'in spite of. Fr. mal gre", 'ill-pleasing', Lat. male gratum. mellow (i 2. 43). If the text is preserved, 'mellow' here is a verb^='make ripe'. There are several examples in Shakespeare. metal (ii. 5. 12), see note. 'Metal' and 'mettle' are the same word, but the latter form came to be applied to the metaphorical use of the term for 'character'. Lat. metallum, Gr. uirx\?.o>, 'amine'. million (▼. 1. 119), 'favourite'. Fr. mignon, 'pet', Ital. mignone. minx(iii. 4. in), 'a pert woman'. Probably, according to Professor Skeat, a corruption of minikin, dim. of Dutch minne, ' love '. misprision (i. 5. 49), properly ' misunderstanding', ' mistaking '. Fr. me'prise. As a legal term, ' misprision ' of treason or felony meant knowledge coupled with concealment of crime. motion (ii. 4. 17), 'emotion'. Myrmidon (ii. 3. 26). Used by Feste merely as a high-sound- ing name. The Myrmidons were properly the followers of Achilles at the siege of Troy. nayword (ii. 3. 123), a 'bye- word'; elsewhere a 'pass- word'. How the term came to have either meaning is obscure. niggardly (ii. 5. 4), 'miserly'. Der. probably Scandinavian. 'od's (v. 1. 176), God's. opposite (ii. 5. 134), 'surly', 'adverse'; (iii. 2. 68), 'adversary'. orchard (iii. 4. 161). O.E. wyrt, M.E. wort, 'plant'; and yard. othergates (v. 1. 185), 'other- wise', ' another way '. Gale—\xa.y is familiar in the north. (M38) owe (i. 5. 292), 'own'. The words are the same. See note. pass upon (iii. 1. 38), explained by (v. 360)= 'pass a jest on', an- alogous to ' palm off upon'; seem- ing rather to be derived from the tricks of a conjuror. It has also been taken as =' fence ' (with words), a thrust in fencing being termed a ' pass ', e.g. at iii. 4. 252. passage (iii. 2. 63), ' imposition '. Cf. the use of ' pass upon ' = ' trick ', supra. passion {passim), ' violent emo- tion'; most commonly of 'love', but often of 'anger'. passy measures pavin (v. 1. 206), probably for ' pazzo-?nezzo panym' (pagan) or 'pavin' (pea- cock, from Lat. pavo). See note. patch (i. 5. 42). Feste plays on the word ' patch ' = ' fool ', from jesters wearing particoloured gar- ments, and ' patch '—' mend'. pedant (iii. 2. 65), 'school- master'. Ital. pedante; probably formed by a confusion between the ped- in pedagogue (Gr. rr«<5- xyttyav, vetihtCuv, teach), and pes, ' foot', giving the idea of a tramp, a ' poor scholar ', a common class in the middle ages. peevish (i. 5. 282), 'froward'; properly of a wayward, fretful child. The word is onomatopoeic, i.e. it imitates the sound of a cross child's voice. perdy (iv. 2. j2.)—par Dieu. perpend (v. 1.289), 'weigh'. Lat. pendere, weigh. Used by Shake- speare with bombastic intention. See note. perspective (v. r. 209). Reflect- ing glasses, so arranged that when looked at from one point of view a complete picture was seen; from any other, a number of distorted pictures. See note. Der. Lat. perspicere, ' to look through'. pia mater (i. 5. 105), 'brain . K 146 TWELFTH NIGHT. Properly, the membrane that covers the brain. pitch (i 1. iz), a technical term for the flight of a falcon, serving as a measure of its merits. So = ' capacity'. point-devise (ii. 5. 145), 'pre- cisely', 'punctiliously'. See note. points ( i. 5. 20), ' laces ' by which hose were fastened up. Properly, of the metal tips. See note. policy, politician. Used rather in the more or less uncompliment- ary sense in which we use ' diplo- macy' and 'diplomatist' on the theory that policy does not agree I with honesty. But the gradations between the best sense 'affairs of state, statesman', and the worst, 'trickery, trickster', must be de- cided according to the context. possess (ii. 3. 126), 'inform', ' put in full possession of the facts'. post (i. 5. 266), 'messenger'. Properly, regular stations on the roads; then the messengers whose business it was to go from one post to the next; then messenger gener- ally. LowLat./<«fo, Lat. posit lum. praised. 5. 231), for 'appraise', 'reckon up'. Lat. pretium, 'price'. pranks (ii. 4. 86), 'decks'; but without the half-contemptuous sug- gestion of the word in its modern use. Connected with ' prick'. presently (iii. 1. 180; v. 1. 176), ' instantly '. So generally in Shakespeare. Softened since to ' bye and bye '. Cf. anon, supra. prevent (iii. 1. 72), 'anticipate'. This, like the common modern sense, is derived from the primary sense of 'go before'; from Lat. prae, 'before', venire, ' to come '. proof (iii 1. 113), 'matterof ex- perience', i.e. 'a thing proved'; not (as commonly) the ' means of proving'. proper (iii. 1. 1221, 'handsome', (v. 327), 'own'; from the two senses of Lat. proprium, 'suitable', and ' own '. propertied (iv. 2. 871, ' made a chattel of. quaff (i. 3. 131, 'drink'. The ' ff' has been substituted for the guttural, found in Scotch quaich, ' cup'. quick (i. 1. 9), 'active'; from the primary sense of ' alive', found in ' the quick and the dead ', 'the earth opened and swallowed them up quick'. A.S. cwic; from the same root found in Lat. vivus, 'living'. quirk (iii. 4. 224), 'temper', ' turn of mind ' : from Celtic root meaning ' turn '. rascal (i. 5. 77), 'worthless fel- low '; transferred from its technical sense of a ' lean deer'. Cf. 'jade ', as a term of abuse transferred from its proper sense of a horse in bad condition. receiving (iii. 1. 109), 'capacity', ' understanding'. recover | ii. 3. 168 ), ' gain '. Pro- perly, to ' get back ', or ^get back to ' , but in Shakespeare often simply to ' gain' or 'reach '. renegado (iii. 2. 61), 'apostate', ' one who denies the faith he has held'. Lat. re-, negare, 'deny'. revels (L 3. 190), ' merry-mak- ing'; properly, by night. Fr. re- veiller, 'wake', 'be awake'. round (ii. 3. 86), 'plain-spoken'; perhaps from the notion of thor- oughness and completeness, the sphere being symbolic of perfec- tion. rubious (i. 4. 31), 'red' like a ruby. The word does not occur elsewhere. rudesbyliv. 1.45), 'rude fellow'. sack (ii. 3. 173), wine prepared from dried grapes (not ' dry' wine in the modern sense). Fr. tec, Sp. secco, 'dry'. GLOSSARY. 147 sad (iii 4. 51, 'sober'; so often without the sense of ' sorrowful '. Der. sated, so ' heavy '. scathful (v. 1. 50), 'harmful'. schedules (i. 5. 227), 'lists', 'in- ventories'; from the sense 'scroll', Lat. sckedula, a strip of paper; so spelt perhaps because borrowed from Greece, and derived from t%iiw, 'to cleave'; but there may have been a form seidula, from root scid, of scindere, ' to cut '. semblative (i. 4. 33), 'like', 're- sembling'. Shakespeare coined the word. Fr. sembler, ' seem '. shent (iv. 2. 98), 'reproved'. A.S. scendan, 'put to shame'. shrew, shrewd, shrewish, be- shrew. The ' shrew mouse ' being credited with a vicious temper, the name was applied to a sharp-tem- pered woman. So 'shrewish' is ' ill-tempered ', ' shrewd ' = ' sharp ', 'cutting', and hence 'clever'; 'be- shrew' is to 'call shrew', 'abuse'. singularity (ii. 5. 135), ' aloof- ness '. The passage means ' act as one apart, a superior'. skills 1 v. 1. 279), 'matters'. Scan. skill is properly ' discernment ', ' power of distinguishing', ' differ- entiating'. Hence skill—' make a difference'. skipping (i. 5. 185), 'foolish', ' flighty'. 'slid, 'slight, &c. For 'God's lid', 'God's light'; a common form of swearing, of which the latest survival was zounds = ' God's wounds'. slough (ii. 5. 133), 'apparel', metaphorically ; from the slough of a snake, i.e. its cast skin. sneck up (ii. 3. 85), ' go hang'. sooth (ii. 4. 46), 'truth'. Sophy (ii. 5. 162). The Shah of Persia. The name is taken from the Safavi dynasty, which ruled from 1500 till supplanted by Nadir Shah in the 18th century. sowter (ii. 5. ii3>, 'bungler', as if a name for a badly trained hound. Properly ' sowter ' = ' cob- bler' (cf. 'botcher', supra), and so ' bungler'. The term in the proper sense survives in the north. Der. Fr. savatier. spleen iiii. 2. 59), 'a violent tit of laughter'; the spleen being re- garded as the seat of strong emo- tions, but less often of mirth than of melancholy. squash (i. 5. 146), 'an unripe peas-cod'. staniel (ii. 5. 105), 'kestrel'. stock (i. 3. 119), 'stocking'. stoup (ii. 3. 12), 'cup', of no definite measure. Stout (ii. 5. 152), 'surly'. stuck (iii. 4. 253), a fencing term. Ital. stoccata, from stocco, a short sword. suit, lit. 'following'; with verb 'sue', 'pursue'. Der. Lat- sequi, secutus, 'follow', Fr. suivre. swabber (i. 5. 188), 'cabin-boy', applied by Yiola to Maria. From the ' swab ' or ' mop ' used in clean- ing decks. swarths (ii. 3. 135), ' swathes ', ' bundles '. Properly, of the bundle of hay formed by one stroke of the scythe. syllogism (i. 5. 44), a term in logic for a particular form of de- monstration, consisting of three statements, of which, if the first two are true, the third must be true also. tabor (iii. 1. 2\ a 'drum'. An Arabic word [tail), whence also tambour, tambourine, timbrel. taffeta (ii. 4. 741, 'silk'. Der. Per. tdftah. take up (iii. 4. 267), 'make up' a quarrel, not 'take it on oneself, as we use the phrase. tall (i. 3. 18), 'valiant', 'sturdy'. Tartar (ii. 5. 183), 'Tartarus', 148 TWELFTH NIGHT. the abode of the wicked in the nether world, in Greek mythology. taste (ii. 4. 267), ' make trial of. testril (ii. 3. 32), 'sixpence'. Corruption of Fr. teston, a small coin, so named from the 'head' (tete) stamped on one side. trade (hi. 2. 83), 'business', like 'commerce', q.v. tray-trip (ii. 5. 171), a game played with dice; so called from the importance of throwing the ' trey' or ' three'. See note. trice (iv. 2. ii6>, 'instant', 'a fraction of a moment'; literally one-third. troth (i. 3. 5), ' faith'. tuck (iii. 4. 205), 'sword'. Fr. estoc, Ital. stucco. Cf. 'stuck', supra. uncurrent (iii. 3. i6\ ' not cur- rent ', coin not accepted as legal tender. Cf. ' currency '. Lat. cur- rere, ' run '. undertaker (iii. 4. 292), 'agent', ' one who undertakes business for another '. unmatched (iii. 4- 215)> 'un' hacked'; a rapier that has done no fighting. Cf. ' hatchet ', a hack- ing instrument. unkind (iii. 4. 342), 'unnatural', 'wanting in natural feeling'. So kind is properly ' natural '. Allied to ' kin'. unprizable (v. 1. 49). Either (1) ' not worth taking ' (Fr.pris, taken); or (2) 'not liable to capture'; or (3) 'above price' (Lat. fretium). See note. validity [L 1. 12), 'value' vice (iv. 2. 117), a character in the old ' morality ' plays, who sur- vives in the harlequin of modern pantomime. See note. Villain (ii. 5. n), 'rogue'. Pro- perly a 'serf, 'bondman'; from Low Lat. villanus, ' farm servant'. For the degeneration, cf. ' knave ', supra. viol-de-gamboys (i. 3. 23), 'vio- loncello ' ; so called because held between the legs. Ital. gamba, ' thigh '. •welkin (ii. 3. 54), ' sky '. Ger. rvolken, ' clouds '. wit (i. 2. 61), 'wisdom', 'intel- ligence'; not 'wittiness'. A. S. wiiati, 'to know'. withal. An intensive form of 'with'. (i)='with\ preposition; (2)=' therewith'; (3) conjunction = ' besides '. yare (iii. 4. 205), ' smart '. A.S. gearu, ' ready '. zany (i. 5. 82), 'buffoon'. Ital. zane, ' Jack ', an abbreviation of Giovanni=]ohn. INDEX OF WORDS. (The references are to the Notes ad locc. Other words will be found in the Glossary. ) abuse, iii. I. 102. access, i. 4. 15. accost, i. 3. 45. admire, iii. 4. 138. advanced, ii. 5. 28. advise, iv. 2. 90. affect, ii. 5. 21. affection, ii. 3. 134. all, ii. 4. 100. alone, i. I. 15. alter, ii. 5. 141. answered, iii. 3. 33. antique, ii. 4. 3. approbation, iii. 4. 164. apt, i. 4. 34; i. 5. 23. aspect, i. 4. 27. backtrick, i. 3. 109. balk, iii. 2. 21. barful, i. 4. 40. barren, i. 3. 73 ; i. 5. 76. bawbling, v. I. 48. bawcock, iii. 4. 103. bent, ii. 4. 37. birdbolts, i. 5. 85. blazon, i. 5. 275. blent, i. 5. 221. botcher, i. 5. 41. bottom, v. 1. 51. breach, ii. I. 19. breast, ii. 3. 18. brock, ii. 5. 95. but, i. 4. 12. buttery bar, i. 3. 65. canary, i. 3. 74. canton, i. 5. 252. caper, i. 3. 107. case, v. 1. 159. castiliano vulgo, i. 3. 39. Cataian, ii. 3. 69. ceremony, v. 1. 154. champain, ii. 5. 143. chantry, iv. 3. 24. character, i. 2. 51. checks, ii. 5. 105. cheveril, iii. I. 12. churchman, iii. 1. 4. clerestories, iv. 2. 13. cloyment, ii. 4. 99. cockatrice, iii. 4. 177. cockney, iv. 1. 12. codling, i. 5. 146. commerce, iii. 4 159. commodity, iii. I. 40. compact, v. 1. 154. compare, ii. 4. 101. competitor, iv. 2. 9. comptible, i. 5. 163. conceited, iii. 4. 269. conduct, iii. 4. 222. cons state, ii. 3. 134. constant, iv. 2. 46. convents, v. 1. 369. coranto, i. 3. 114. cousin, i. 3. 4. coystrill. i. 3. 37. cozier, ii. 3. 82. crow, i. 5. 81. crowner, i. 5. 124. cubiculo, iii. 2. 45. curst, iii. 2. 36. cut, ii. 3. 171. cypress, ii. 4. 52; iii. I. 1 10. decays, i. 5. 69. deceivably. iv. 3. 21. delivered, L 2. 42. denay, ii. 4. 124. ISO TWELFTH NIGHT. dexteriously, i. 5. 54. dimension, v. i. 229. dishonest, I. 5. 37. distempered, i. 5. 84. divulged, i. 5. 242. dry, i. 3. 67; i. 5. 36. ducat, i. 3. 20. dying fall, i. I. 4. element, i. I. 26. enlarge, v. I. 270. entertainment, i. 5. 200. estimable, ii. I. 23. except before excepted, i. 3. 6. expressure, ii. 3. 143. exquisite, ii. 3. 129. extent, iv. 1. 47. extravagancy, ii. I. 10. fadge, ii. 2. 31. fancy, i. I. 1 4. fault, ii. 5. 117. favour, ii. 4. 24. fear no colours, i. 5. 5. fell, i. I. 22. firago, iii. 4. 252. fond, ii. 2. 32. for all waters, iv. 2. 60. formal, ii. 5. 108. fraught, v. 1. 55. free, i. 5. 242; ii. 4. 45. fustian, ii. 5. 100. galliard, i. 3. 106. gaskins, i. 5. 22. geek, v. I. 336. genius, iii. 4. 1 18. gin, ii. 5. 76. good my mouse, i. 5. 56. gracious, i. 5. 244. Greek, iv. 1. 15. grize, iii. I. 113. gull, ii. 3. 123. gust, i. 3. 28. haggard, iii. 1. 53. having, iii. 4. 319. his - 's, iii. 3. 25. honesty, ii. 3. 80. hull, i. 5. 188. humour, i. 4. 4 ; ii. 5. 48. importance, v. I. 351. impressure, ii. 5. 85. incardinate, v. 1. 174. incredulous, iii. 4. 73. indifferent. iS. in gram, 1. 5. 220. ingrate, v. 1. 107. jade, ii. 5. 147. jealousy, iii. 3. 8. jewel, iii. 4. 190. jump, v. I. 244. kickshawses, i. 3. 102. kind {plural), i. 5. 81. know, iii. 4. 233. lapsed, iii. 3. 36. leasing, i. 5. 89. lenten, i. 5. 8. let, v. 1. 241. list, iii. I. 65. lovebroker, iii. 2. 31. madonna, i. 5. 38. marry, i. 3. 63. maugre, iii. I. 141. minion, v. I. 119. misprision, i. 5. 49. modest, i. 5. 166. motions, ii. 4. 17, 98. nayword, ii. 3. 123. opposite, ii. 5. 134; iii. 2. 56. orbed continent, v. I. 263. ordinary, i. 5. 77. othergates, v. 1. 1S5. owe, i. 5. 292 ; ii. 4. 103. passion, ii. 4. 4. pass upon, iii. 1. 38. passy measures pavin, v. I. 192. patched, i. 5. 42. pedant, iii. 2. 65. perdy, iv. 2. 72. perpend, v. 1. 289. perspective, v. I. 209. pia mater, i. 5. 105. pipe, i- 4- 31- pitch, i. I. 12. point devise, ii. 5. 145- points, i. 5. 21. politician, ii. 3. 69; iii. 2. 27. possess, ii. 3. 126. pranks, ii. 4. 88. pregnant, ii. 2. 26. prevent, iii. I. 72. INDEX OF WORDS. •Si proof, iii. I. 113. proper false, ii. 2. 27. propriety, v. I. 141. publish, ii. I. 24. quick, i. 1.9. quirk, iii. 4. 224. recollected terms, ii. 4. 5. recommended, iv. 1. 85. record, v. 1. 238. recover, ii. 3. 168. rein, iii. 4. 297. reliques, iii. 3. 19. remember, v. 1. 271. renown, iii. 3. 24. reverberate, i. 5. 254. round, ii. 3. 86. rubious, i. 4. 31. rudesby, iv. I. 45. sack, ii. 3. 173. sad, iii. 4. 5. saws, iii. 4. 352. scathful, v. 1. 50. self, i. 1. 39. semblative, i. 4. 33. shent, iv. 2. 98. skills, v. 1. 279. skipping, i. 5. 185. sneck up, ii. 3. 85. some, ii. I. 19. sooth, ii. 1. 9. sound, i. 4. 32. Sowter, ii. 5. 113. spleen, iii. 2. 59. squash, i. 5. 146. standing water, i. 5. 147. staniel, ii. 5. 105. state, ii. 5. 41. stock, i. 3. 119. stoup, ii. 3. 13. stout, ii. 5. 152. strange, ii. 5. 152. stuck, iii. 4. 253. suited, v. 1. 226. surfeiting, i. 1. 2. swarth, ii. 3. 135. tabor, iii. I. 2. taffeta, ii. 4. 74. take air, iii. 4. 120. tall, i. 3. 18. Tartar, ii. 5. 1S3. taxation, i. 5. 195. tempt, iv. 1. 36. testril, ii. 3. 32. that, i. I. 10, ^^; i. 4. 6. tilly vally, ii. 3. 71. touch, ii. I. 11. trade, iii. I. 64. tray-trip, ii. 5. 171. triplex, v. 1. 33. troth, i. 3. 3. tuck, iii. 4. 205. uncurrent, iii. 3. 16. undertaker, iii. 4. 292. unhatched, iii. 4. 215. unkind, iii. 4. 342. unprizable, v. 1. 49. usurp, i. 5. 173. vainness, iii. 4. 329. validity, i. 1. 12. venerable, iii. 4. 337. vulgar, iii. 1. 113. ways, ii. 5. I. weeds, v. 1. 247. westward ho, iii. I. 124. what = who, i. 2. 35. what a plague, i. 3. I. whirligig, v. 1. 363. windy side, iii. 4. 151. yare, iii. 4. 205. yet, i. 4. 29. you were best, i. 5. 27. zanies, i. 5. 82. GENERAL INDEX. Actaeon, i. I. 19. Arion, i. 2. 15. astrology, i. 3. 117, 121 ; i. 4. 34; ii. I. 3. bearbaiting, ii. 5. 7. bed of Ware, iii. 2. 41. Brownist, iii. 2. 27. Candy, v. 1. 55. cherry-pit, iii. 4. 107. classical allusions, i. 1. 19, 35; i. 2. 15; ii. 3. 161 ; ii. 5. 85; iv. 1. 56 ; iv. 2. 47. Cupid's golden shaft, i. I. 35. double negative, i. 5. 87; ii. I. I; ii. 2. 16; iii. I. 149; iv. 1. 5. Dutchman's beard, iii. 2. 23. Egyptian thief, v. I. 1 12. Elizabethan customs, i. 3. 38; i. 5. 176; ii. 5. 7, 138; iii. 4. 124. Elizabethan superstitions, i. I. 26. 37; i. 3. 79; i. 4. 4. ethic dative, i. 2. 53; i. 5. 250; iii. 2. 28. Gorboduc, iv. 2. 13. infinitive with and without to, i. I. 16; iii. 3. 20; as gerund, ii. 2. 5. lady of the Strachy, ii. 3. 35. law of duello, iii. 4. 151. legal terms, i. 3. 6; i. 5. 49; iv. I. 29, 47. Lethe, iv. 1. 56. literary criticism, i. 2. 5^: i. 3. 6. 87, 90, 95. 105; i. 5. 17, 24, 31, 32, 35, 44. 45. 56, 89, no, 142, 170, 183. 189, 190, 221, 276; ii. I. I; ii. 2. 10, II ; ii. 3. I, 21, 33, 69, S5. 105, 116, 127, 170; ii. 4. I, 29, 51, 96, no, 117; ii. 5. 30, 80; iii. I. 2, 60, 67, 78, 129; iii. 2. 38; iii. 4. 69; v. 1. 93. 352, 376. Lucrece, ii. 5. 85. Alkaline, ii. 1. 16. metal of India, ii. 5. 12. Mistress Mali's picture, i. 3. 113. Montaigne quoted, i. 5. 17. music from the spheres, iii. I. 99. new map of the augmentation of the Indies, iii. 2. 69. omission of relative, i. 5. 91 : ii. I. 21. omission of verb of motion, i. 3. 93: i. 5. 176. participle termination dropped, i. 4. 19; v. 1. 135, 272. past tense as past participle, i. 5. 245 ; v. I. 251. Peg-a-Ramsey. ii. 3. 70. Penthesilea, ii. 3. 161. proverbs, i. 3. 64; i. 5. 49; ii. 3. 2. Puritans, ii. 3. 127. GENERAL INDEX. 153 Pythagoras, iv. 2. 47. St. Bennet, v. I. 34. singular verb with piural subject, ii. 5- 143- 1 Sir' applied t.> priests, iii. 4. 249. songs, ii. 3. 48, 70, 71 ; ii. 4. 51 ; iii. 4. 106; iv. 2. 69; v. I. 376. Sophy, ii. 5. 162; iii. 4. 256. Steevens quoted, i. 3. 38. textual notes, i. 1. 5, 27; i. 2.40,43; i. 3. 39, 90, 105, 119; i. 5. 15, 89. 105, 183, 218, 231, 237, 283; ii. 3. 153; ii. 4. 88; ii. 5. 105; iii. 3. 15; iii. 4. 46, 250; iv. 1. 12; v. I. 108. thou and you, iii. 2. 38. Three merry men, ii. 3. 70. treatment of madmen, iii. 4. 124. Vice, iv. 2. 117. weavers, ii. 3. 55. 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" Mr. Godley has written a useful little note on the proper way of translating Latin into English, and the exercises he has appended to his extracts are heloful."— Athenseum. A CLASSICAL COMPENDIUM. Handbook to Greek and Latin Constructions, by C. E BROWNRIGG, M.A., Chief Classical Master in Magdalen College School, Oxford. Price 2s. 6d. "This little volume is an excellent handbook of Greek and Latin syntactical constructions, idioms, proverbs, and technical terms, ending with a resume of the more important accent -laws in Greek. The author's scholarship is good, and his grammar up to date ; his facts are well arranged, and the parallelisms between Greek and Latin con- structions kept constantly in view. We confidently recommend the book to students for University classical entrance scholarships, and all higher classical examinations."— University Correspondent. VIRGIL'S AEXEID.— Book L Edited, with Introduction, Notes, Exercises in Prosody, and Vocabularies, by the Rev. A. J. CHURCH, M.A., ex-Professor of Latin, University College, London. Price is. ' ' Those who have had the pleasure of reading Mr. Church's Stories from J'irgil will doubtless take up with pleasure this edition of Aoieid, Book I. The introduction is readable, and we are glad to see that the editor does not assume in his readers a knowledge of the metre, or of the rules of Latin prosody, as many school editions of the classics seem to do. . . . The grammatical notes are sound and helpful."— Uni- versity Correspondent. " It goes without saying that any work of the ex-Professor is worth examining, and Messrs. Blackie are fortunate in getting this little book from his annotating pen. Somebody has remarked that it is rather difficult nowadays to find anything new to say about Vergil, or its various editions; still one may observe with approval the space here given to explanations of prosody in general, and the hexameter in par- ticular, which may be especially commended for use in girls' schools where a false quantity is not entirely unknown. " — Educational Review. " This little manual is admirable, not only in its critical introduction and sensible notes, but in its comprehension of the real and not the ima- ginary stumbling-blocks which confront the beginner." — The Speaker. CAESAR'S GALLIC WAR.— Books I. and II. Edited, with Introduction, Notes, Exercises, and Vocabularies, by JOHN BROWN, B.A., Sometime Scholar of Worcester College, Oxford. Price is. 6d. each. " The present addition has many attractive features, and is made as interesting to the school-boy as it is possible to make such a work. It contains an introduction embellished with pictures and plans. . . . A careful orthography according to the best German texts, with exer- cises, notes, vocabularies, and maps, makes this one of the most com- plete school editions of Caesar's first book of the Gallic War. Nothing is omitted that would be likely to aid the pupil in mastering the text and taking an intelligent interest in the narrative. It makes the use of other text-books at this stage superfluous. The exercises make it ex- ceedingly serviceable as a composition-book, and the admirable notes and vocabularies are a splendid training in the use of a dictionary. The whole book shows that the author is abreast of the most recent scholar- ship, and his learning, which is never obtrusive, is here placed at the service of the student. It is the best school edition of Caesar we know." —Academic Review. ' ' The boy who masters this volume will have laid a very solid founda- tion of Latin for future use. Even in these days, when no care seems too great to expend upon the preparation of a school text-book, Mr. Brown's effort is remarkable. There is an excellent map of Gaul so fastened into the book that it can be spread open before the student as he reads the text. The introduction on Roman books, and on transla- tion from Latin into English, are full of useful information. Concise notes, an excellent grammatical appendix, numerous exercises for trans- lation into Latin, together with pictures to tempt the puerorur ijiiproz-ida to read the letterpress, combine to make this one of the most complete text-books we have seen." — School Guardian. INTRODUCTION TO SHAKESPEARE. By Professor DOWDEN. Crown 8vo. Price 2s. 6d. "Mr. Dowden's book will be most valuable by way of biography, whilst his criticisms have all the sanity and insight which we expect from him. The little book is singularly complete; it sketches the history of Shakespearean editorship and criticism and acting, and is full of help to students in their novitiate."— Daily Chronicle. "It was a happy thought of the publishers to reprint in this pleasant way the excellent Introduction which Professor Dowden contributed to the Hetny Irving Shakespeare. Fortunately, too, the occasion for the reprinting has served for some revisions and certain very noticeable additions, among the latter being an account of the interpretations of Shakespeare, given by all the chief actors, beginning with Burbage and ending with Macready. The text is well and boldly printed on good paper, and a neat and strong binding completes an attractive little volume. ' ' —Educational Review. " The manual contains the essence of much research and scholarship. The difficulties are not shirked, even in the small space at his command, but Professor Dowden is not adverse to classing many of them as in- soluble. . . . It is enough to make Shakespeare students, in all but the technical sense, of even the pupils in literature classes whom philo- logical editors have crushed into listlessness."— Bookman. THE WARWICK SHAKESPEARE A New Series, Edited in a Literary Spirit by Competent Scholars. Now Published — RICHARD THE SECOND. Edited by C. H. Herford, Litt.D. is. 6d. HAMLET. Edited by E. K. Chambers, B.A. up. 6d. MACBETH. Edited by E. K. Chambers, B.A. 1* JULIUS CAESAR. Edited by A. D. Innes, M.A. is. AS YOU LIKE IT. Edited by J. C. Smith, M.A. a. 6d. "This series is worthy the attention of all teachers of literature. The literary aspect of the plays is rightly made of the first importance, though due attention is given to historical, philological, and grammatical points. Each volume is provided with a glossary, an essay on metre, and an index. Appendices have been added upon points of special interest. This edition can be confidently recommended for use in schools, and intelligent boys and girls will know how to appreciate the editors' notes, which are meant for them, and not for embryo philologists. The Warwick Shakespeare should put an end to the existence of the old dry-as-dust editions of the plays that a few years ago were all the vogue for school use, and will give an intelligent student more than an inkling of what literature, literary history, and literary criticism mean." — Book- man. "Such aims will win the warm sympathy of schoolmasters and school- mistresses. And, what is better still, the edition realizes these aims, if not completely at any rate to a very satisfactory extent. The notes are short, simple, clear, and helpful. . . . The edition makes an effort to supply what schools need, such as deserves distinct encouragement." —Journal of Education. "Both volumes are furnished with a glossary, many admirable his- torical and literary notes, and introductions which leave little, on the score of lucid exposition and intelligent criticism, to be desired. We have encountered few better works of the kind, and we heartily commend them, on the score of common-sense as well as scholarship, to teachers and private students." — The Speaker. ' ' These first volumes are exceedingly good for the purpose in view. They are not overloaded with comment, and the comment itself is unusually acute and cultured. When a shilling will buy this concen- trated essence of the best opinions hitherto held about a play, plus so much of originality and good taste, our young Shakespeare students have only to contribute a willing mind and some close attention." — St. James's Gazette. BLACKIE'S JUNIOR SCHOOL SHAKESPEARE. A New Series, Designed especially for Young Students and Junior Candidates at the Local Examination. THE MERCHANT OF VENICE. Edited bv George H. Ely, B.A. 3d. KING HENRY THE EIGHTH. By the same Editor. 8d. AS YOU LIKE IT. Edited by Lionel W. Lvde, M.A. 8d. KING HENRY THE FIFTH. Edited by W. Barry, B.A. 8d. KING RICHARD THE SECOND. By the same Editor. U. CORIOLANUS. Edited by Walter Dent. iod. JULIUS CAESAR. Bv the same Editor. 8^. A MIDSUMMER-NIGHT'S DREAM. Edited by W. F. Baugust. 8d. THE TEMPEST. Edited by Elizabeth Lee. 8d. KING JOHN. Edited by F. E. Webb, B.A. 8d. " The excellence and thoroughness of the general plan upon which' Blackie's Junior School Shakespeare has been projected meets with unqualified approbation. The consistency with which every distinct play conforms to the method laid down is praiseworthy, and the results, as a whole, are commendably gratifying. The notes are notably good —in the explanations of allusions, metaphors, and other difficulties, while the few paraphrases of passages not readily understood from their condensed or involved expression, are generally excellent. The critical remarks, which should be carefully considered after the reading of the play, are clear and judicious. This edition possesses many of the best qualities of an educative, as distinguished from a critical, presentation of the plays." — Educational News. ' ' We have never been much enamoured of any attempts to make Shakespeare milk for babes, either by bowdlerizing or other means ; but we have seen worse examples than the Junior School Shakespeare. . . . If such offences come, they might, as we have already said, come much worse than in the guise of the Ju?iior School Shakespeare." — Saturday Review. A SUMMARY OF BRITISH HISTORY. By the Rev. EDGAR SANDERSON, M.A. Price is. " The earnest student who has thoughtfully and carefull> read his work from standard histories will welcome this manual as an aid in summarizing his studies. The lazy student will be glad to find his pabulum prepared, served up, and almost digested for him." — Journal of Education. " This little volume is not a history, but a summary of one, worthy the consideration of all those who have in view the facing of an examination in which British history plays a part, for it will do much to make preparation for it easy. It is the best of the kind we have yet come across." — Civil Service Gazette. u A Summary of British History is compact and well summarized ; the appendices deserve special commendation, giving in concise form the chief data of our constitutional naval, military, commercial, literary, social, and educational progress, in a handy form for reference ; and useful to the teacher as ready-made notes for lesson preparation. The list of Technical Terms at the end of the book deserve special commendation." — Educational Review. "The book is cheap, clear, short, full, and well got-up generally. ... If the similar work known familiarly as 'Ince and Gilbert' deserves a sale of over 600,000 copies, Mr. Sanderson's deserves a sale of millions." — Educational Times. "The present book is a remarkably good condensation. It would be difficult to name any book where the student who wishes to get up British history as a whole, or any par- ticular period, could find the information better put for examination purposes." — Glasgow Herald. " One of the most excellent cheap manuals of history we have ever looked into. . . . The most valuable part of the book is the score of appendices upon definite topics, such as Religious History, Different Stages of Kingly Power, &c. A really valuable handbook." — Methodist Recorder. A SYNOPTICAL GEOGRAPHY OF THE WORLD. A Concise Handbook for Examination Candidates and for General Reference. Price is. u Exactly fills the place it professes to fill — that of ' concise handbook for rapid revisal in preparing for examinations and for general reference'. The matter is to the point, the outline maps clear, the type and arrangement excellent" — University Correspondent. " The new Synoptical Geography is a multum hi parvo of geographical knowledge. It is a handy little book, and there is nothing in any examination paper we know of that might not be looked up from this work, and read up almost sufficiently for examination purposes." — Library Review. " Amongst its special excellencies may be mentioned the useful information provided upon the various routes from London to the Continent and the European capitals, and upon the interchange of commodities between England and her colonies, between the colonies and other parts of the world, and between the chief foreign ports of international importance. The sketch maps, of which there are between forty and fifty, are clearly printed and well-selected, and they will be of real value for teaching purposes." — Guardian. " Quite a new book for the serious and responsible work of the student — a book to turn to to revise and test and freshen up and mend the weak places in his geographical accom- plishments, putting matters in a fresh light, supplementing more voluminous text-books, and arming him at all points for confidence and security in his knowledge and grasp of the study. The candidate for examination, and the student who wants to turn his knowledge to account, will rind the book, with its maps, lists, tables, and summaries, invaluable." — School Board Chronicle. BRIEF LIST OF EDUCATIONAL WORKS PUBLISHED BY BLACKIE & SOX, Limited. Classics. CAESARS GALLIC WAR BKS. I., II.. V., and VI. Edited, with Introduc- tion, Notes, Exercises, and Vocabularies, by John Brown, B.A. \\ itta coloured Map, Illustrations, and Plans of Battles. F'cap 8vo, cloth, Is. 6d. each. CAESAR'S INVASIONS OF BRITAIN (Parts of Books IV. and V. of the Gallic War). Edited bv John Brown, B.A. F'cap 8vo, cloth, Is. 6rf. STORIES FROM CICERO. Edited, with Introduction, Notes, Exercises, and Vocabularies, by A. C. Liddell, M.A. F'cap Svo, cloth. Is. Gd. HORACES HISTORICAL AND POLI- TICAL ODES. Edited, with Historical Introduction and Notes, by the Rev. A. J. Church, M.A. Crown 8vo, cloth, 2s. 6d. STORIES FROM OVID. Edited, with Introduction, Note?, and Vocabulary, by A. H. Allcroft, M. A., sometime Scholar of Christ Church, Oxford. F'cap 8vo, cloth, Is. Gd. SELECTIONS FROM PHAEDRUS, Books I. and II. Edited for Junior Forms, by S. E. Winbolt, B.A. F'cap 8vo, cloth, Is. VIRGIL'S AENEID. BOOK I. Edited, with Introduction, Outline of Prosody, Notes, Exercises on the Hexameter. Vo- cabulary, Ac., by Rev. A. J. Church, M.A. F'cap 8vo, cloth, Is. THE STORY OF AENEAS: being Selections from the Aeneid, connected by a narrative in English. With Introduc- tion, Notes, and Vocabulary, by A. H. Allcroft, M.A. With many illustrations. Part I. (Aeneid I. -VI.;. Fcap 8to, cloth, 2*. [36] XENOPHON'S ANABASIS. BOOK I. Edited, with Introduction, Notes, an Ap- pendix on Greek Constructions, and Vo- cabulary, by C. E. Brownrisg, M.A. With Map, Plans of Battles, &c. F'cap 8vo, cloth, is. 6d. LATIN STORIES: Short Selections from the best prose authors. Edited, with Notes, English Exercises, Vocabu- laries, &c, by A. D. Godley, M.A. F'cap 8vo, cloth, Is. LATIN UNSEENS : Graduated Speci- mens of Prose and Verse, mainly selected from Examination Papers. Junior Sec- tion, 3d; Senior Section, Gd. LATIN PROSE OF THE SILVER AGE: SELECTIONS. Edited by C. E Brownrigg, M.A. With an Introduction by T. H. Warren, M.A., President of Magdalen College. Crown 8vo, cloth 4s. Gd. A CLASSICAL COMPENDIUM: being a Handbook to Greek and Latin Construc- tions. By C. E. Brownrisg, M.A. Crown 8vo, cloth, 2s. Gd. HINTS AND HELPS IN CONTIN- UOUS LATIN PROSE. By W. C. Fiam- stead Walters, M.A. F'cap 8vo, cloth, 2s. PRAXIS PRIMARIA: Exercises in Latin Composition. By the Rev. Islay Burns, M.A., D.D. Seventh Edition, crown Svo, cloth limp, 2s. Key, 3s. 6d. GREEK UNSEENS, in Prose and Verse. Junior Section. Selected by A. C. Liddell, M.A. Paper cover, id. MYTHS AND LEGENDS OF GREE* E AND ROME. By E. M. Berens. Illus- trated. F'cap Svo, cloth, 2s. 84. blackie's educational works. English. A St'HOOL HISTORY OF ENGLISH LITERATURE. By Elizabeth Lee. In four vols., f'cap Svo, cloth, Is. 6d. each. Chaucer to Marlowe. Now Ready. [Others to follow. THE WARWICK LIBRARY. Com- parative Manuals of English Literature. Crown Svo, cloth, 3s. 6d. each. General Editor— Professor C. H. Herford, Litt.D. English Pastorals. Edited by E. K Chambers. Literary Criticism. Edited by C. E. Yaughan. ALA., Professor of English Literature at University College, Car- diff. [Others to follow. The WARWICK SHAKESPEARE. The greater Plays, edited for students and senior candidates in the University Local Examinations. Each f'cap Svo, cloth. As You Like It. Edited by J. C. Smith, M. A. 18. U. Twelfth Night. Edited by A. D. Innes, M.A. 1*. Sd. Hamlet. Edited by E. K. Chambers, B.A. Is. &i. Macbeth. Edited by E K. Chambers, B.A. 1*. Eichard II. Edited by C. H. Herford, Litt.D., Professor of English at University College, : vyth. 18. 6d. Julius Caesar. Edited by A. D. Innes, M.A. 18. Henrv the Fifth. Edited by G. C. Moore Smith. M.A. 18. 6d. Richard ILL Edited by George Mac Donald, M.A. A Midsummer Niehfs Dream. Edited by E. K. Chambers. B.A. Introduction to Shakespeare. By Professor ! i-n. Illustrated. Crown svo, cloth, 2s. 6d. BLACKIE'S JUNIOR SCHOOL SHAKESPEARE. For young students and for junior candidates in the Univer- sity Local Examinations. i£c. Each f'cap 8vo, cloth. Twelfth Night. Edited by Elizabeth Lee. Sd. Hamlet. Edited by L. W. Lyde, M.A. 10J. Macbeth. Edited by H. C Notcott, B.A. Sd. King John. Edited by F. E. Webb, B.A. Sd. The Tempest. Edited by Elizabeth Lee. Sd. The Merchant of Venice. Edited by George H Ely, B.A. Sd. Henry the Eighth. Edited by the same. Sd. Henrv the Fifth. Edited by W. Barry, B.A. Bd. Eichard the Second. Edited by the same. Sd. Coriolanua. Edited by Walter Den', loci. Julius Caesar. Edited by the same. Sd. As You Like It. Edited by Lionel W. Lyde, M.A. Sd. A Midsummer-Night's Dream. Edited by W. F. Baugust. id. Cymbeline. Edited by the same. lOd. BLACKIE'S ENGLISH CIA Containing representative extracts from standard English authors, annotated for school use. Each f'cap 8vo. Addison— Sir Koger toops to Conqner and The Good-natured Man. Ed- ited by Harold Littledale. M.A, Is. Mjxton.— Paradise Lost. Edited by F. w rse, M.A. Books I. and III., each Is. Scott.— The Lay of the Last Min- strel. Complete, Is.: Cantos I. -III., cloth, 9d.; Cantos IV. -VI., 9d. Scott.— The Lady of the Lake. Ed- ited by W. Keith Leask, M.A. Is. Readings from Carlyle. Edited by W. Keith Leask, M.A. Crown Svo, cloth, 2s. &d. The Citizen of the lVorld. Select Letters. Edited by W. A. Brockington, M. A. Crown Svo, cloth, 2s. Essay on Addison. Edited by C. Sheldon, D.Litt. Crown Svo, cloth, 2s. JUNIOR SCHOOL CLASSICS. Each, with a few exceptions, 32 pages, with Biographical Sketch, Introductions, and Notes at end; paper, id.; cloth, 3d. Bi wnivg.— The Pied Piper of Hamelin. Ed- , B. E. WinK.lt, B.A. Campbell— Songs and Ballads. Edited by W. Dent. Old Ballad— Chevy Chase. Edited by S. E. Winbuit, B.A. Coleridge —The Kime of the Ancient Mari- ner. Edited by W. Dent. Cowpr.R .— John Gilpin, and other Poems Ed- ited by W. Lent. Goldsmith— The Deserted Village. Edited by Elisabeth Lee. Goldsmith.— The Traveller. Edited by S. E. AViuK.lt, B.A. Grvt — The Eleev, Eton College Ode, and The Bard. Edited by Elisabeth Bee. M \c aula y.— Armada. Ivry, Battle of Naseby; Battle of Lake RegiUus; Horatius. Macaulay. — Horatius and Battle of Lake Regillus. In one volume. Cloth, 6d. Milton — L- Allegro and H Penseroso. Edited by C. E. Brownrigg. MA. Scott.— Marmion Cant:. 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